THE SCULPTOR’S IMPRINT, PART II
On Exhibition: September 5 - October 24, 2026


Gallery Hours:  Tuesday - Friday 10am-5pm  and  Saturday 12 noon-5pm

Throughout its history, Flatbed Press has welcomed sculptors into the collaborative environment of the print studio, where ideas rooted in three-dimensional form find new expression on the printed plane. These collaborations demonstrate that printmaking is not simply a means of reproduction, but a medium of discovery. Here, sculptural thought is translated through line, tone, texture, pressure, layering, and the physical act of making an impression. In some works, the sculptural object itself becomes the matrix, collapsing the distinction between sculpture and print.

Part II, the second of the three part series, continues Flatbed’s examination of what happens when artists accustomed to thinking in three dimensions enter the print studio. Rather than translating sculpture into a two-dimensional image, these collaborations reveal printmaking as an extension of sculptural thought. Across these five distinct practices, the printed surface becomes another kind of sculptural space—a place where material, pressure, image, and idea converge and where new forms can emerge.

The Sculptor’s Imprint: Part II brings together prints by John Greer, Hollis Hammonds, Beili Liu, Beverly Penn, and Joan Winter, five artists whose practices move fluidly between sculpture, drawing, installation, and works on paper. Although their approaches and imagery differ, each brings to printmaking a heightened awareness of material, structure, space, and the physical presence of things.

In the work of these artists, the distinction between two and three dimensions is often deliberately unsettled. An object may become an image; a drawn line may suggest structure or volume; accumulated marks can build a surface much as materials are assembled to create sculpture. Processes of layering, transferring, impressing, cutting, and repetition further connect the acts of printmaking and sculpture.

Nature, the built environment, memory, and material transformation emerge in different ways throughout the exhibition. Whether intimate or monumental in conception, these works retain the sensibility of artists accustomed to thinking about how objects inhabit space and how materials carry meaning.

Together, the prints in The Sculptor’s Imprint: Part II reveal the printed surface as another kind of sculptural space—a place where material, image, and idea meet, and where the act of making an impression can be both physical and conceptual.

About the Artists

John Greer
Canadian artist John Greer has spent decades exploring objects, materials, language, and the ways we assign meaning to physical forms. Moving from early work in painting and printmaking toward sculpture and conceptual practice, Greer has worked extensively in stone and bronze as well as with found and fabricated objects. His work can be playful and enigmatic, transforming familiar forms and images into objects that invite reconsideration. His prints retain this sculptural sensibility, giving weight and presence to images on a two-dimensional surface.

Hollis Hammonds
Hollis Hammonds is a multidisciplinary artist whose drawings, installations, sculptures, and prints examine memory, accumulation, environmental change, consumption, and the built landscape. Her practice frequently moves between densely rendered images and constructed environments, allowing drawing to become physical and sculptural while sculpture retains the immediacy of drawing. Architecture, landscape, domestic objects, and debris form a recurring vocabulary through which Hammonds considers personal history and our relationship to the material world.

Beili Liu
Born in Jilin, China, and based in Austin, Beili Liu creates site-responsive installations, sculpture, performance, public art, and works on paper. Her practice is deeply rooted in material and process, often employing humble or everyday materials transformed through repetition and intensive hand labor. Liu’s work explores migration, cultural memory, resilience, fragility, and environmental change. Across both three-dimensional works and prints, material and gesture become poetic expressions of movement, vulnerability, and transformation.

Beverly Penn
Beverly Penn is a sculptor whose work is deeply informed by the structures and patterns of the natural world. Known for intricately composed metal sculptures derived from botanical forms, she explores the tension between organic growth and the permanence and physicality of metal.

Penn’s monoprints bring this sculptural practice directly into the printmaking process. Created from sculpted copper sheets, the works use shaped and worked metal surfaces as printing matrices. Pressure transfers the physical character of the copper—its textures, marks, edges, and evidence of its making—onto paper. The resulting images are not representations of sculpture but impressions made through sculpture itself. In her Tautology monoprints, layers of subtle color, texture, and transferred marks create surfaces that seem simultaneously constructed and excavated.

Joan Winter
Joan Winter works across sculpture, printmaking, drawing, and installation, with an approach attentive to material, structure, space, and the natural world. Her work moves between the physical presence of an object and the suggestion of architectural and organic form. In her prints, texture, repeated marks, layered imagery, and constructed space establish a strong connection to her three-dimensional practice. Often transferring wood textures to the etched plates, the  printed surface becomes another material—one that can be built, divided, layered, and transformed.

Gallery Hours

Monday: By appointment

Tuesday-Friday: 10am-5pm

Saturday: 12pm-5pm

Sunday: Closed