Ballyhoo III Intaglio print on paper 30" H x 22" W "Ballyhoo III" is an intaglio print on rag paper that returns to the same radial form in a deeper, more saturated register — the lines printed in near-black ink with greater density and contrast, the luminous open center all the more striking for the darkness surrounding it. The irregular outer edge preserves the organic imperfection of the natural form, and the deckle-edged paper grounds the image in the handmade, the whole work balancing the precision of scientific observation with the quiet wonder that drives Mintz's practice. Read More
Ballyhoo II Intaglio print on paper 30" H x 22" W "Ballyhoo II" is an intaglio print on rag paper that sits between its companions in tone — the radial form printed in deep, rich black with a fullness and weight that gives it a commanding presence on the pale grey ground, the open center glowing with particular intensity against the dense surrounding field of lines. The organic undulation of the outer edge softens what might otherwise read as pure geometry, the form feeling wholly natural — something observed, recorded, and honored through the exacting patience of the intaglio process. Read More
Ballyhoo I Intaglio print on paper 30" H x 22" W "Ballyhoo I" is an intaglio print on rag paper that captures a radial natural form in extraordinary detail — fine lines spreading outward from a luminous open center like a sunburst, rendered with the precision and organic irregularity of something discovered in nature rather than invented. Printed in deep graphite on a soft grey ground, the image hovers between scientific specimen and pure abstraction, Mintz's deep attentiveness to the forms and structures of the natural world distilled into a single, quietly arresting circle. Read More
Ballyhoo in Red Intaglio print on rag paper 30" H x 22" W "Ballyhoo in Red" is an intaglio print on rag paper that brings deep crimson and near-black to the familiar radial form — fine lines spreading outward from an open luminous center with the same organic precision and quiet authority as its companions, but charged here with a warmth and intensity that feels visceral and alive. The dark red ground gives the work a richness that reads differently by light and distance, the undulating outer edge softening the form's geometry just enough to keep it firmly rooted in the natural world. Read More
Double Pivot Intaglio print on rag paper 22" H x 30" W "Double Pivot" is an intaglio print on rag paper that brings two lobed, cellular forms together in a single interlocked composition — one rendered in deep near-black, the other in pale grey-blue, the two meeting at a dark central void where they appear to spiral inward around each other. The stippled surfaces shift in density and tone across each form, creating a remarkable sense of volume and depth, the whole image evoking the intimate geometry of natural pairing — two structures that have found each other, or perhaps were never separate to begin with. Read More
Ornithology Japanese paper and brass wall sculpture 21" H x 19" W x 2.75" D "Ornithology" takes the form of a single wing in mid-arc, its paper feathers layered and overlapping in a sweeping curve that rises toward the upper left before trailing off into longer, more open forms at the lower right. A solid circular form near the wing's inner edge anchors the composition — suggesting a joint, a socket, the hidden mechanism of flight — while the surrounding feather shapes grow progressively larger and more spacious as they extend outward. There is something both anatomical and celestial about "Ornithology," as though Mintz has rendered not just the physical structure of a wing but the idea of lift itself, the quiet engineering behind every departure. Read More
Fluttering Japanese paper and brass wall sculpture 21" H x 23" W x 2" D In "Fluttering," a broad, densely packed wing unfurls from a prominent central circle, the paper forms shifting from small, rounded ovals near the hub to wide, paddle-shaped feathers at the outer edges in a movement that feels caught between stillness and motion. The composition tilts gently, the wing angled as if in the middle of a single, unhurried beat, and the layering of forms creates a subtle depth — shadows collecting in the overlaps, light catching the pale Gampi paper across the broader panels. There is an ease and amplitude to it, the generous scale of its feather forms suggesting something large, calm, and utterly unhurried in the air. Read More
Flit Japanese paper and brass wall sculpture 34" H x 25" W x 2.5" D "Flit" throws two wings wide from a central void, the paper forms radiating outward on both sides in near-symmetrical bursts that evoke a bird caught in the instant of maximum wingspan. The open circle at the center reads as absence and axis simultaneously, the pivot around which everything else moves, and the radiating forms on either side — tightly clustered and small near the middle, elongating rapidly toward the tips — give the piece an almost electric sense of outward energy. Light and airborne despite its scale, "Flit" captures the essential quality its title promises: not sustained flight but that sudden, decisive burst of it. Read More
Pinion Japanese paper and brass wall sculpture 48" H x 37" W x 2" D "Pinion" radiates outward from a small, luminous central orb, hundreds of elongated paper forms fanning in every direction like the primary feathers of a wing caught mid-stroke. The composition spirals — tightly packed near the center where forms are small and rounded, then elongating and separating as they reach the edges — so that the piece reads simultaneously as an organism in explosive growth and a single frozen moment of flight. Rendered in Mintz's characteristic off-white Japanese Gampi paper outlined in fine brass wire, "Pinion" is at once delicate and monumental, the kind of work that rewards sustained looking as the eye traces its radiating logic outward from the calm center to the restless, spreading periphery. Read More
Cape Japanese paper and brass wall sculpture 58" H x 38" W x 1.5" D "Cape" is a tall, gravity-fed cascade of elongated feather forms descending from a bare circle at the top like a great ceremonial mantle or the folded wing of a roosting bird. The forms fan outward as they fall, broadening and separating near the bottom hem, so that the piece seems to settle and spread against the wall with a kind of dignified weight. The open wire circle at the crown lends it a formal, almost heraldic quality, and the sheer number of overlapping paper panels — each one slightly translucent, each casting its own soft shadow — creates a surface of extraordinary richness that shifts with the light throughout the day. Read More
Plash Japanese paper and brass wall sculpture 31" H x 31" W x 10" D "Plash" is a wall sculpture of fine brass wire and Japanese Gampi paper that introduces color into Mintz's typically monochromatic vocabulary — rich indigo and deep ocean blue saturating the paper panels of the lower portion while the upper registers remain translucent and pale, the two meeting in an undulating boundary that evokes a waterline, a wave breaking, or the moment of submersion. The geometric lattice of the wire framework holds the composition in its characteristic structural order, but the color gives "Plash" an emotional charge and sense of movement that feels genuinely aquatic — water and light and geometric form all held together in a single, quietly arresting piece. Read More
Cusp Japanese paper and brass wall sculpture 24" H x 13" W x 11.25" D "Cusp" is a wall sculpture of fine brass wire and Japanese Gampi paper whose ovoid, leaf-like form is entirely covered in a repeating geometric lattice of triangles and hexagons — the translucent paper panels glowing softly and unevenly with ambient light, warmer in some facets and cooler in others, giving the surface a living, breathing quality despite its precise structural logic. Small faceted protrusions at the top and bottom break the otherwise smooth silhouette, hinting at growth or budding, the overall form suspended between the geometric and the organic in the way that characterizes Mintz's practice at its most refined. Read More