The New York painter Dan Walsh has long had parallel practices in printmaking and bookmaking. While a painter’s works on paper are often either preliminary sketches or after-the-fact reproductions, Walsh has always taken a more experimental and playful approach. In book form, he works through progressions, running his vocabulary of forms through incremental expansions and digressions, always on the watch for a new composition that might suddenly come into view. With regard to printmaking, it’s often been noted that his approach to painting has much in common with woodblock and silkscreen printing, in which layers of varying transparency are built up atop one another. Walsh applies paint to his canvases in passes, each color inverting and offsetting the ones underneath. This way of working requires a fair degree of planning crossed with a willingness to risk diversions in the moment. Perhaps it’s this combination of steadfastness and improvisation that allows Walsh to keep finding ways to evolve his structures in surprising directions.

This piece originates from the meticulously calculated painting “Reform 2024” by Dan Walsh.
The composition was carefully resized and precisely laser-cut onto a woodblock, capturing the exacting structure and subtle details of the original artwork. Oil-based ink was used in the printing process, enhancing the depth and richness of the final image. Printed on Shiramine paper—a traditional handmade Japanese paper known for its soft texture and durability—the work reflects a harmonious balance between contemporary expression and timeless craftsmanship.

While the original work is on view at the artist’s solo exhibition at “Galerie Thomas Schulte” in Berlin, we are pleased to present the woodcut print edition of this piece!

Dan Walsh

“Reform 2025”

Woodcut Print

19 7/8” x 19 3/4”

Oil Based Ink on Shiramine Paper　　

・Limited EDITION OF 8

・signed by the artist

・Available for Custom Frame

・Published by Keigo Prints Inc.

This latest silkscreen edition entitled “Supply” is closely modeled on his painting called “Surplus” from 2020. For this print version Walsh proposed that the criss-crossing lozenges be bisected into two colors. Given that the curved ends of these painted lozenges are carefully formed by a brush of that very same width, it would be impossible to split these colors in a painting. But because Walsh doesn’t ask for prints to mimic his paintings, he is free to use a print like this as a kind of oblique mirror, distorting a familiar structure in order to find the new ones to come.

Dan Walsh

“SUPPLY”

14 colors Screenprint

37” x 37” / Saunders Waterford

・Limited EDITION OF 20

・signed by artist

・Published by Keigo Prints Inc.