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Printed Matter is pleased to share like a ruined sunrise, the second installment in a series of three new screen prints by artist Marley Freeman.

like a ruined sunrise is a new 20-color screenprint by Marley Freeman produced alongside Leslie Diuguid of Du-Good Studios. Freeman’s work exemplifies the internal logic of her image-making process: sculpturally layered color, a responsiveness to chance and improvisation, and a resistance to linearity. The title references an excerpt from Daniel Berrigan’s 1980 We Die Before We Live, an oral history of the hospice ward of St. Rose’s Home in New York. Rather than the sunset, a symbol often invoked in hospice care, Freeman chose to reference a sunrise, subverting our associations of death with darkness and finality. The “ruined” sunrise, however, speaks to discomfort and disorientation in the presence of something awe-inducing—another disruption of expectation.

The three-part series Love is Blind is the artist’s first venture into screenprinting, with the third and final work to be realized in 2025. Together, this print series extends Freeman’s intuitive and experimental approach to image-making.

Marley Freeman (b. 1981, Lynn, Massachusetts) uses hand-mixed gesso, acrylic, and oils to create meticulous, psychologically charged color fields. Working primarily in the medium of painting, Freeman studies the ways in which the material “wants to perform,” resulting in multisensorial investigations of color and light that transcend distinctions between abstraction and representation. “Pigments have their own ways of acting,” she says, “and I became obsessed with learning their traits.” Her distinct vocabulary of forms is made up of brushy strokes, color washes, and shapes that freely transform across the picture plane. The influence of the material history of textile production on the artist is evident in her close attention to the textural subtleties of her paints and her reverence for their surface effects. Freeman lives between New York and Massachusetts. Freeman’s work can be found in the collections of the Crocker Art Museum, Sacramento, California; Hammer Museum, Los Angeles; Los Angeles County Museum of Art; RISD Museum, Providence, Rhode Island; San Antonio Museum of Art; Whitney Museum of Art, New York; University of Colorado Art Museum, Boulder; and the Hessel Museum of Art, Annandale-On-Hudson, New York.

This print is the second in a three-part serial fundraising edition series. Over the past decade Printed Matter has worked with Wade Guyton (6 editions, 2014-2019) and Jonas Wood (3 editions, 2020-2022)—in which the artists created a series of works that were released annually in succession. The artists used the serial form to produce variations of a single theme that then play out across the series in compelling ways. Serial fundraising editions have become a significant means of support for the many programs and services available through Printed Matter.