These are Astrid Bowlby’s first prints with Petrichor Fine Art Press, a five-year-old Pennsylvania press committed to stone lithography. Each is concerned with the accumulation of marks—abstract and representative—a focus developed in her previous prints, drawings and installations made from amassed cut drawings.
The larger, entitled Everything, makes a valiant attempt to fulfill its titular promise. What appears from a distance to be an all-over field is revealed on closer inspection as an evenly dispersed collection of cartoonish objects. Among these items are a bunch of grapes, a comb, a mug, a wine bottle and an ear of corn, as well as art historical citations, such as a small homage to Keith Haring’s well-known figures. Graffiti, cave painting and modernism are all in conversation here. The field of things bleeds to the paper’s deckled edges, suggesting a boundless spread, and reflecting a printing process in which the drawing on the stone was larger than the paper.