Saint Clair Cemin
(Brazilian/American, b.1951)
Giant Blonde with Monument
$3,000
Executed in 2025, this is the first print by the artist since 2018.
Hand-printed woodcut in five colors, a fine example of the only state, the full sheet, printed on cream white Japanese Kozo paper, signed, dated and numbered in pencil by the artist, executed in an edition of only 20 (there were also 2 numbered Artist’s Proofs and 2 numbered Hors Commerce proofs), printed by the artist, published by World House Editions, Middlebury, Connecticut, in very fine condition, unframed.
Note:
Saint Clair Cemin is a Brazlilan/American post-modern sculptor who was originally trained in printmaking. His work encompasses multiple styles, approaches and sensibilities, from fantastical neo-surrealistic sculpture to furniture and objets d’art. His sculpture, built on a blend of precision crafting, traditional materials and references to ancient Greece, Art Nouveau, Art History and Surrealism, are as strangely humorous as they are sensual, captivating and thought provoking.
Commenting on Giant Blonde with Monument, Cemin’s first print edition since 2018, Independent Curator and Arts Journalist David Gibson has said:
This new print edition by Saint-Clair Cemin is a hybrid ideal, both a return to an art form important to Cemin’s early identity as an artist, representing provisional formats and disciplines—the one that left him with a desire to enter a new role as a sculptor; and a version of visualized two-dimensional formats of the sculpture itself. The image is one of a larger primary figure paired with a smaller complementary one. Both have been birthed together, creating a symbiotic dynamic with spiritual overtones. Printmaking inspired and informed by a radically disparate medium such as sculpture brings with it a range of meaning specific to the affinities between them. The sculpture trades in physicality, and offers up a sensual appearance that on paper is reduced to lyrical gestures more in common with drawing. As the eyes might caress the outward appearance and sensuous textures of a dimensional work, they similarly pass over this ambiguous image, that throws an aesthetic shadow over all future expectations. An oblique beauty inhabits the image, which compels while it likewise questions the meaning of form.
– David Gibson, February, 2025, New York