The image was created by riffing on top of a 19th-century public domain anatomical engraving of the human heart. I no longer remember how I decided on the image, but I have photo documentation of one sheet of these prints coming out of the Amish inkjet printer. I must have run that sheet of paper through the printer twice: once to layout a sheet of images, and then a second time to overprint after I had gilded the heart shape and hand-colored the red background. I do remember that additional hand painting was done with black ink as a final step.

I printed this image using carbon black pigment ink that is very permanent, and used archival materials throughout the process, including 23k gold leaf.

Although the print is not numbered, I believe 15 or less of this print were created.

Each print is torn to size by hand, resulting in a beautiful irregular border. The overall dimensions are approximately 5 by 7 inches, but there is some variation in size as well.

This print is optionally available in a white wooden 8 by 10 inch frame with a white museum rag mat. Glass protects the front of the print. An easel back and hangers complete the package, allowing the frame to stand on a table or shelf, as well as hang on the wall.

This lovely palm-sized print was made right here in my Brooklyn studio using archival materials and pigmented inks.

The cotton rag paper was coated by hand to work better with the printer. I added some macro-pearl mica powder to the coating, which really sparkles when the light is right.

The 4 by 6 inch image was printed using archival pigmented inks that are highly permanent and lightfast.

Each print is torn to size by hand, resulting in a beautiful irregular border. The overall dimensions are approximately 5 by 7 inches, but there is some variation that contributes to the uniqueness of your print.

An optional studio selected white 10 by 8 inch frame with a white museum rag mat for presentation of this print is available below or during checkout.

Click here to see a few customer photos of small prints

The 13 by 19 inch image matches the original painting’s scale, then goes further: I’ve hand-applied 23-karat gold and palladium leaf to each star and point of light. This gilding process surprised me—by using thicker adhesive, I got some subtle texture in the leaf rather than the paper-flat finish I expected. These flecks catch light from across the room, even under glass, then reveal their dimensionality up close.

The precious metals respond to light in ways ink cannot, but they’re also here to honor something about seeing and being present. All that distance and time, made present right now.

Each of the seven prints in this edition is hand-gilded, so yours will vary slightly from these photos.

High-quality archival materials ensure your print will last. Pigmented inks on acid-free 100% cotton paper (17 by 22 inches with white margins). I’ve adjusted the digital file so the colors glow.

Numbered, titled, signed, with certificate of authenticity.

Ships flat.

Optional white 18 by 24 inch frame with museum rag mat available at checkout.

The relationship between this smaller painting and the larger one was useful to me as I was working. But, a small painting has its own particular sense of scale, particularly when seen in person. While a big painting is enveloping, to me, a small painting always feels a bit like it is moving away from the viewer. When the space inside the painting is vast, this resonates. For a painting of the night sky–it’s just right.

Angelo
220 East Main St.
Charlottesville, VA 22902
434-971-9256
angelojewelry@gmail.com

Opening Reception:
November 7th, 5-7:30pm
Part of Charlottesville’s First Fridays

Regular Hours:
Wednesday-Saturday: 10am – 5pm
with holiday hours:
Mon–Tue, Dec 15–23: 10 AM – 5 PM
Wed, Dec 24: 10 AM – 4 PM
Fri–Sat, Dec 26–27: 10 AM – 5 PM
(Closed Christmas Day)

The year after graduating from UVA, I was hired by Angelo owner Lee Marraccini to work in his goldsmithing studio, Marraccini Designs. I was too green to even know how lucky this was. I spent that formative year learning to polish and solder gold castings, inlay semi-precious stones, and work as part of a creative team. My fingers developed callouses and I developed a taste for pepperoncini and an appreciation for the exquisite color combination of 24k gold and lapis lazuli blue. I didn’t understand it at the time, but this was also an incredibly important opportunity for me to see up close how a successful creative business functioned.

I still benefit from those experiences, and as I think you will see in these recent paintings, my work still carries the tastes that Lee and Pam Marraccini and their team nurtured that year. I’m feeling a lot of gratitude for the opportunity to show these recent canvases at Angelo. Come celebrate this homecoming with us.

The paintings in this exhibit are included in the gallery below. Each image is linked to further details about that painting.