Guy Dill’s residencies at Aurobora Press have focused on experimentation with the same select geometric forms used in his large sculptural works but within a two-dimensional medium. Using mylar templates and a masonite matrix heavily worked with modeling paste, Dill achieves a three-dimensional quality to his monotypes. Densely inked forms – arcs, ovals, circles – create a push-and-pull tension as they are randomly over-laid, shape on top of shape.
Drawing inspiration from the printmaking process itself and encouraged by the direction each preceding print was headed, Dill produced a suite of elegant monotypes that clearly reflects his monumental sculptures. The subtle use of color in these prints underscores its subordinate nature to the structural forms in the overall composition. Yet, even without this particular point of reference, Guy Dill’s monotypes with their bold shapes forced to the foreground by the atmospheric surfaces they are printed upon, engage the viewer in a clear and direct dialogue.
Albright-Knox Art Museum, Buffalo, NY; Long Beach Museum of Art, Long Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Museum of Modern Art, New York, NY; Newport Harbor Art Museum, Newport Beach, CA; The Norton Simon Musem of Art, Pasadena, CA; Palm Springs Desert Museum, Palm Springs, CA; Roy R. Neuberger Museum, Purchase, NY; Renwick Gallery, Washington, DC; San Diego Museum of Art, San Deigo, CA; Santa Barbara Museum of Art, Santa Barbara, CA; Smithsonian Museum, Washington, DC; Solomon R. Guggenheim Museum, New York, NY; Stedelijk Museum, Amsterdam, Netherlands; Whitney Museum of American Art, New York, NY