Terry Winters began sketching botanical, molecular and architectural structures during the early 1980s. These notebooks became the foundation for a series of print suites, which he began in 1985 and still pursues. First developed in his paintings, Winters' subject matter of entelechy - realization of form-giving cause not discoverable by scientific investigation combined with his distinctive use of materials played a significant part in revitalizing abstract imagery in the late 20th century.
Winters' "overlapping concerns," as he states it, are to integrate the more figurative drawings of his prints into the syntax of his abstract painting and in this show we directly witness the stages in this effort. The exhibit begins with experiments in lithography and presents outstanding forays into the subtleties of printmaking processes including etching, aquatint woodcut and linoleum block printing. The exhibition also includes Winters' unusual indigo-dyed ringers.
Winters explained in 1986, "I have tried to use the media of painting, drawing and printmaking equally without any kind of h of importance." His 1992 retrospective at the Whitney Museum of American Art gave equal wall space to prints, paintings and drawings, It is clear that Winters penchant for working in series, his love of mark making, and his treatment of technical materials as alchemical fodder make his work particularly well-suited for the complex art of printmaking.
Albums, Folios and Suites has assembled the expensive suites of prints produced by this internationally acclaimed American artist. In the visual arts, "suite" denotes a grouping of works produced around a related theme, affording an artist opportunity to expand upon a set of ideas or motifs within a given medium.