Untitled 9 Copper plate sugar-lift etching on paper, unframed 22.5" H x 15" W A grid of soft red circles repeats across the paper in two loose columns, each ring overlapping its neighbor in a gentle, breathing rhythm. The color is faint and uneven, almost blush-like against the paper's pale, weathered surface, giving the piece a delicate, hand-worked quality. Simple in structure but quietly luminous, it completes the series' exploration of repetition and restraint. Read More
Untitled 8 Copper plate sugar-lift etching on paper, unframed 20" H x 15" W A geometric form built of dark, shaded planes anchors this print, its faceted surfaces alternating between deep charcoal and bare paper to suggest volume and turning light. The structure feels heavier and more sculptural than others in the series, the shading lending real dimensionality to what is otherwise a spare line drawing. Set against a soft, aged ground, it holds a quiet, weighted presence. Read More
Untitled 7 Copper plate sugar-lift etching on paper, unframed 22.5" H x 15" W Two layers of geometric line — one in soft grey, one in assertive black — overlap to form a dense, faceted polyhedron on aged, warm-toned paper. The doubled structure creates a subtle sense of depth and revision, as though the form had been redrawn or reconsidered mid-process. Scattered stains and fine scratches across the surface add to the impression of a plate worn through repeated use. Read More
Untitled 6 Copper plate sugar-lift etching on paper, unframed 22.5" H x 15" W A cascading arrangement of stepped, cube-like forms radiates outward from a central point, rendered in the palest green line against a nearly blank ground. The structure reads like an architectural diagram or an aerial view of stacked blocks receding into the distance, its fine, evenly weighted lines giving the piece a sense of quiet, mathematical order. Sparse and airy, it's one of the most restrained pieces in the group. Read More
Untitled 5 Copper plate sugar-lift etching on paper, unframed 14.5" H x 10" W A faceted, crystalline form fills most of this small paper, its black outline broken into sharp triangular planes that fan out from two central points. A single dark triangle at the upper edge grounds the composition, while faint scattered marks and a mottled, textured surface suggest the plate's long working history. Compact and angular, the piece has the concentrated energy of a form still resolving itself. Read More
Untitled 4 Copper plate sugar-lift etching on paper, unframed 20" H x 15" W Interlocking black and grey lines build a dense, faceted polyhedron at the center of this print, its overlapping planes suggesting a form caught mid-rotation. Reddish stains and scattered marks bleed through the aged, cream-toned paper beneath the geometry, hinting at the layered history of the plate itself. The tension between precise structure and the paper's soft imperfection gives the piece its particular charge — order drawn out of accumulation. Read More
Untitled 3 Copper plate sugar-lift etching on paper, unframed 22.5" H x 15" W A grid of pale pink circles overlaps in two loose columns across a faint, softly stained ground, each ring drawn with the same delicate, slightly uneven line. The repetition creates a quiet rhythm — circle touching circle — while the sparseness of color and the visible wear of the paper give the piece a sense of restraint. It's a study in pattern and repetition rendered with a light, almost breath-like touch. Read More
Untitled 1 Copper plate sugar-lift etching on paper, unframed 15.5" H x 14" W A single geometric form floats on a pale, weathered ground — a cube rendered in fine black line, its top face split by a subtle fold that suggests the form is opening or unfolding rather than simply drawn. Illingworth's characteristic sense of accumulation is quieter here, the paper's soft, mottled surface doing as much work as the crisp architectural lines it carries. The result is spare and exacting, a small structural study that holds its own quiet presence. Read More
Ri 12 Shellac plate monoprint relief etching ink on somerset paper, unframed 30" H x 40" W "Ri.12" layers large, cloud-like scalloped forms in terracotta, blush, and soft grey across a warm, weathered tan ground, their edges overlapping in loose, biomorphic shapes reminiscent of shells or lichen. A cluster of fine black lines radiates from a single point near the center, cutting across the composition like a compass rose or a burst of light. The interplay between the soft, rounded forms and the sharp, linear intervention gives the piece an unusual tension — organic accumulation meeting geometric precision. Read More
Plein Air Shellac plate monoprint relief etching ink on somerset paper, unframed 30" H x 40" W "Plein Air" renders a field of tall, irregular cream-white forms rising and falling like stalactites or windblown grass against a cool, soft blue-grey ground. The vertical rhythm of the shapes gives the piece real movement, some forms reaching the top edge while others taper off mid-composition, their forked and notched silhouettes suggesting something caught between growth and erosion. Cooler and more restrained than much of Illingworth's work, the piece carries a quiet, outdoor stillness true to its title. Read More
Circles II Shellac plate monoprint relief etching ink on somerset paper, unframed 30" H x 40" W A companion to "Circles I," "Circles II" repeats the same bold, interlocking ring motif in dense black ink against warm cream paper, the brushwork slightly looser and the composition shifted to give the rings a different rhythm and balance. Fine cracks and textural variegation move through the black, evidence of the plate's process, while the surrounding paper carries the same soft, aged warmth found throughout Illingworth's work. Together, the two pieces read as variations on a single gesture — circular, weighted, and quietly monumental. Read More
Circles I Shellac plate monoprint relief etching ink on somerset paper, unframed 30" H x 40" W "Circles I" is a bold, large-scale ink work by Rachel Illingworth in which overlapping black rings, rendered in loose, brushy strokes, dominate a pale cream ground. The heavy, textured black holds traces of grey and silver beneath its surface, giving the ostensibly simple form real depth and weight, while the raw, gestural edges of the circles keep the piece feeling immediate and handmade rather than mechanically drawn. Spare and graphic, it's a striking departure into pure form and mark-making. Read More