Herring Weirs 1918

Philip Little made this etching, Herring Weirs, sometime around 1918. It's a beautiful example of mark-making economy. Each line feels deliberate, almost like he’s sketching with acid. The surface has this fantastic, slightly gritty texture, something that etching does so well, it invites your eye to wander, and the reflections in the water almost mirror the loose branch-like shapes of the tree overhead. I keep getting drawn to the little figures on the pier, each rendered with just a few strokes, but full of character. They anchor the whole scene, giving it a sense of scale and human presence. This reminds me a bit of Whistler's prints, that same love for capturing a specific place with an understated touch. Little creates a space for contemplation, reminding us that art is as much about what you leave out as what you put in.