A Fog in the Hollow

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By 1973 Gilliam’s paint handling evolved from thin washes of color to what one art historian described as a “drop-cloth aesthetic”—haphazardly applied blots and drips of paint. To translate this visual effect to screenprinting, master printer William Weege randomly selected screens that were hand-drawn by Gilliam, then printed them one atop the other in multiple layers.

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