![[title not known] by Patrick Heron](/_next/image?url=https%3A%2F%2Fd2w8kbdekdi1gv.cloudfront.net%2FeyJidWNrZXQiOiAiYXJ0ZXJhLWltYWdlcy1idWNrZXQiLCAia2V5IjogImFydHdvcmtzL2U0MGUwNTNhLTI3YWQtNDY4NS05NTNkLWE3MmZlMDI0NTUxNi9lNDBlMDUzYS0yN2FkLTQ2ODUtOTUzZC1hNzJmZTAyNDU1MTZfZnVsbC5qcGciLCAiZWRpdHMiOiB7InJlc2l6ZSI6IHsid2lkdGgiOiAxOTIwLCAiaGVpZ2h0IjogMTkyMCwgImZpdCI6ICJpbnNpZGUifX19&w=3840&q=75)
Dimensions: unconfirmed: 670 x 800 mm
Copyright: © Estate of Patrick Heron. All Rights Reserved, DACS 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This untitled print by Patrick Heron features broad strokes of green and shapes of yellow on a pale green background. It feels spontaneous, almost playful. What can you tell me about it? Curator: Considering Heron's background in textile design, it's hard not to see this as a study in the application of pigment. The materiality of the ink, the way it sits on the paper, even the labor involved in creating the print—these are all central to understanding the work. Do you see how the seemingly simple composition belies a deeper engagement with production? Editor: I didn't think about it that way, but I see what you mean. Thanks. Curator: It challenges the hierarchy between fine art and applied arts. Food for thought.
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The suite of prints from which this etching is taken is one of the last works Patrick Heron made before his death. Over a period of three months between December 1998 and March 1999, Heron worked in his studio with the printer Hugh Stoneman, making drawings for fifteen works in total, from which he selected the eleven plates that make up the portfolio. He finished the drawing for the colophon page on the morning of the day he died. Heron approved the proofs and decided on a sequence for presenting the works shortly before his death. The etchings were printed posthumously, overseen by the artist’s two daughters.
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