The Receipt is a blind debossed collograph print commemorating the longest-running exhibition of Forever in Your Debt—its 30-month run at MASS MoCA. Tracing the installation’s footprint at a scale of 1:10, each of the vessels in FIYD is represented by a single coin, with the face value of the coins used totaling the $40 amount at the heart of the project.

Each print measures 90 by 14 inches and is blind debossed on white Rives BFK 100% cotton paper. Each sheet was scored and torn by hand before being soaked and passed through the press a total of four times.

As with much of my work, the true character of the piece is not easily captured in photographs. From a distance, the print reads as a minimalist scroll filled with orderly circles; upon closer inspection, the coins and their details become legible, conveying the narrative of the larger project through an economy of visual language.

I was astounded by the detail I was able to achieve through this process, which felt akin to what I’ve achieved in past projects working with plaster and porcelain. The result falls somewhere on the spectrum between print and cast; the casting material just happens to be paper. Natural lighting creates an optical illusion in which the recessed impressions instead appear to be in relief and the coins seem to subtly glow. Each lift of paper off the press felt like a little spark of magic.

The first ten prints from the edition of 45 are now available. They are priced at $3000 each, inclusive of taxes and shipping.

Five imperfect prints are also on offer to friends, family, fellow artists and those with fewer resources. These are available on a sliding scale basis in order of inquiry.

If you are interested but seek a more tactile understanding of the piece before committing, there are a limited number of sample squares from test prints available upon request.

For further details or to reserve or purchase, please email: studio@kelliraeadams.com

I recently read an analysis asserting that the role of artists, institutions, and galleries in moments like these is to survive, while that of collectors is patient support. If you are able to offer further support by acquiring my work during this critical period, I will be profoundly grateful.