In each of Jill Moser’s "Chroma Six" prints, a dialogue takes place between figure and ground. The gestural, almost animated figure is both expressive and descriptive while the ground is imbued with a deep dimensional space that rivals that of the overlaid figure. The titles of the individual prints in the suite are (clockwise from left): “Gamboge”, “Benibana”, “Tyre”, “Verdigris”, “Cinnabar” and “Violets”.

John Yau and Richard Hull created a series of collaborative monotypes at Manneken Press in 2023. Loosely following the format of “wanted” posters from the old Wild West, Yau provided pithy koans to which Hull responded with an image. Yau wrote his phrases and fleshed them out with color. Hull drafted his signature head-and-shoulder abstracted portraits on a larger plate. The three plates were placed together and printed in one pass through the press.

“Empyrean (2)” is one of a trio of intaglio prints by Goldberg published by Manneken Press in 2026. Glenn Goldberg (b. 1953, Bronx, NY) is an American painter known for ethereal, graphic non-objective works that often weave representational elements from nature like birds, flowers, and water into layered, stippled surfaces. He studied at the New York Studio School and earned an MFA from Queens College, and his career includes multiple grants and museum holdings.

Jason Karolak’s new editions depict floating architectonic structures in color, layered through the unique qualities of the etching and aquatint processes. “Cross-hatched” slats of chromatic hues fit together and project in space, suspending potential. Karolak’s work is a process of collecting and constructing. He gathers shapes from his environment—local vernaculars of design and the built world. Fragments from the people and places he encounters become “anchors,” to be used later. These elements fold into ongoing research threads into utopian and communal societies, and visionary, speculative architecture. Karolak uses drawing to distill and clarify these materials into usable forms. There is no separation between what is personal and what is formal, only a storehouse of parts to be moved around and put together.

“Two of Wands (Facing)” and “Two of Wands (Future)” draw inspiration from the Tarot card traditionally associated with planning, possibility, and intentional action. Created during the lead-up to the 2024 U.S. election—a period marked by rising transphobic rhetoric—Fake used the imagery of the Two of Wands to reflect on both the weight of the present and the promise of the future. Rather than depicting two wands in a single scene, Fake separates them into paired prints. “Facing” confronts history and the current moment, symbolized by a box for memory, candles for remembrance, and a keyhole referencing past decisions. “Future,” by contrast, embodies open potential and carries fewer fixed symbols, emphasizing the space to envision what comes next. Together, the works explore how understanding the present creates the groundwork for imagining and shaping the future.

Anna Kunz made a series of monotypes at Manneken Press in November 2022. Drawing inspiration from the ocean, the most abstract space in nature, she chose the title "Echolocation", exchanging the marine mammal behavior of using echoing sound as a means to navigate and locate, with vibrational hues, as a way to compose and lead the viewer's eye into unfamiliar relationships, and to materialize the unknown. "Echolocation Four" is a monotype made using oil-based inks and paint sticks on 30" x 27" Arches Cover paper.