// The Idea of an Empty Sliding by Jonathan Monk is a unique monotype from 2015, produced as a single edition. This artwork features an arrangement of faintly embossed square outlines scattered across a large, empty white surface. The subtle variations in the squares’ positions and orientations create a sense of movement, as if they are gently drifting or sliding across the page. The minimalist composition and the delicate embossing emphasize emptiness and quiet motion, inviting viewers to reflect on themes of presence and absence, space, and the intangible. Monk’s work often explores concepts of repetition and subtle transformation, and here, he plays with the idea of emptiness as a dynamic, shifting field.
Jonathan Monk (UK, 1969) is a conceptual artist whose work reinterprets and challenges art history with wit and irony. Using diverse media, including photography, sculpture, and performance, he engages in playful dialogues with iconic artists and movements. Monk’s works blur originality and appropriation, inviting viewers to question the boundaries of contemporary art.
MonotypeMonotype is a printmaking technique where an image is painted or drawn on a nonabsorbent, smooth surface, traditionally an etching plate of copper, but now also acrylic, zinc, or glass. The image is then transferred to paper using a printing press, creating a unique print. The first pressing removes most of the ink, making it difficult to produce additional prints with the same richness, resulting in a one-of-a-kind artwork.
Size
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100 X 80 cm
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Edition of 1
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3,000EUR
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// The Idea of an Empty Sliding by Jonathan Monk is a unique monotype from 2015, produced as a single edition. This artwork features an arrangement of faintly embossed square outlines scattered across a large, empty white surface. The subtle variations in the squares’ positions and orientations create a sense of movement, as if they are gently drifting or sliding across the page. The minimalist composition and the delicate embossing emphasize emptiness and quiet motion, inviting viewers to reflect on themes of presence and absence, space, and the intangible. Monk’s work often explores concepts of repetition and subtle transformation, and here, he plays with the idea of emptiness as a dynamic, shifting field.
Jonathan Monk (UK, 1969) is a conceptual artist whose work reinterprets and challenges art history with wit and irony. Using diverse media, including photography, sculpture, and performance, he engages in playful dialogues with iconic artists and movements. Monk’s works blur originality and appropriation, inviting viewers to question the boundaries of contemporary art.
Is it or is it not or can it or can it not be?
- Jonathan Monk
Jonathan Monk is a British artist living and working in Berlin, Germany. He creates photographs, film, sculpture and installation pieces which are thought to be humorous reinterpretations of works by Sol LeWitt, Ed Ruscha, and John Baldessari to name some. Monk often uses quotations to give new ideas to works viewed as seminal in their time, adding quirkiness to challenge the value of the artwork. Jonathan Monk's upbringing in a working class environment is viewed by some as his source for taking the artistic and adding the mundane in ways that encourage viewers to think differently about specific art pieces than they may have before. Jonathan Monk has works exhibited throughout the world. His Tears, 2005 photograph shows a passport photo with the eyes completely covered by a pair of drop earrings placed to represent tears. His Painting of a photo of a photo of a painting, 2008, has images of a purple vase filled with yellow sunflowers, both in photograph image and then drawn in markers. The greeting “Get Well Soon” is one of three witty, hand-lettered greetings included. These are only two of the pieces which have established Jonathan Monk's reputation as a humorist in the art world.
Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.