Born in 1949, the American artist Terry Winters is primarily known for his paintings and drawings. He is also, however, one of the most distinguished printmakers working today. He has explored a wide range of media at workshops such as Universal Limited Art Editions in West Islip, Long Island, and the Aldo Crommelynck studio in Paris. The exhibition contains a variety of lithographs, etchings, woodcuts, and linoleum cuts, and features individual prints as well as complete portfolios of closely related works. On view for the first time in New York is Winters's 1998 portfolio Set of Ten, etchings issued this year with Perfection, Way, Origin, a text by Swiss literary critic and Jean-Jacques Rousseau scholar Jean Starobinski. This text has just been published in limited-edition book form. The book, which contains twenty-eight additional etchings by Winters, is also in the exhibition.
The imagery in Winters' prints created in the 1980s and early 1990s contains elements of representation. His more recent prints, which are abstract, reflect his interest in the way that the world is linked in ways we cannot always visualize but constantly experience. Neural connections, brain functions, and cyberspace all interest him. "One classic definition of cyberspace is the place you go when you're on the telephone," says Winters. "It's the informational space out there, not immaterial but incorporeal. I'm interested in how to give a picture of these things we can't see."
Winters's printed works of the 1980s feature objects that float discretely or merge within a field. In more recent prints, the imagery is the field itself, and suggests deep, indeterminate space, as in the artist's two large oil paintings in the collection of the Metropolitan, Reflection Line Method (1997) and Light Source Direction (1997). Winters approaches painting, drawing, and printmaking with equal regard, with no hierarchy that positions painting and drawing above prints.