Szapocznikow’s interest in experimenting with readily available material led to some of her most original works on paper. Around 1960 she began to practice a variation on monotype printmaking. Szapocznikow most likely used a porous material, such as cardboard, which she variously inked or colored with a greasy black crayon or oil stick then imprinted directly onto a smooth sheet of paper, a process that provided immediate results and allowed her to work without assistants or a printing press.
Gallery label from Alina Szapocznikow: Sculpture Undone, 1955–1972, October 7, 2012–January 28, 2013.
