Details
Artist
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Embossed prints, on Eskulan paper, with accompanying text sheet. Signed, dated, and numbered. Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris. Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511. Graphein XI, Ufer des Toten Meeres by Günther Uecker is a contemplative embossed print from the artist’s Graphein series, created in 2002. Made on hand-crafted Eskulan paper, the work consists of a field of small, raised dots arranged in a subtly undulating vertical formation that suggests movement or topographical layering. The title, which translates to Shore of the Dead Sea, evokes both a physical landscape and a metaphysical concept—solitude, silence, and the interface between presence and emptiness. Uecker forgoes traditional mark-making, instead shaping the surface through pressure and relief, allowing light and shadow to compose the image. The tactile composition mimics erosion or sedimentation, hinting at natural forces and timeless change. This minimalist and poetic piece invites a meditative engagement, turning the act of viewing into a sensory exploration. Published in an edition of 120 with additional artist’s copies, it was co-produced by Dorothea van der Koelen in Mainz and Edouard Weiss in Paris, and stands as a quiet yet powerful reflection on nature, memory, and impermanence.
Graphein XI, Ufer des Toten Meeres, 2002
form
Medium
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70 x 50 cm
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Edition
Price
Details
Artist
Styles
Embossed prints, on Eskulan paper, with accompanying text sheet. Signed, dated, and numbered. Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris. Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511. Graphein XI, Ufer des Toten Meeres by Günther Uecker is a contemplative embossed print from the artist’s Graphein series, created in 2002. Made on hand-crafted Eskulan paper, the work consists of a field of small, raised dots arranged in a subtly undulating vertical formation that suggests movement or topographical layering. The title, which translates to Shore of the Dead Sea, evokes both a physical landscape and a metaphysical concept—solitude, silence, and the interface between presence and emptiness. Uecker forgoes traditional mark-making, instead shaping the surface through pressure and relief, allowing light and shadow to compose the image. The tactile composition mimics erosion or sedimentation, hinting at natural forces and timeless change. This minimalist and poetic piece invites a meditative engagement, turning the act of viewing into a sensory exploration. Published in an edition of 120 with additional artist’s copies, it was co-produced by Dorothea van der Koelen in Mainz and Edouard Weiss in Paris, and stands as a quiet yet powerful reflection on nature, memory, and impermanence.
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