Hurvin Anderson | Welcome Series

2011 - 2022
  • Hurvin Anderson Durham Press Welcome Series Little Tobago Woodblock Screenprint Edition Print
    Welcome Series: Little Tobago (2022)
  • We are pleased to announce the completion of Hurvin Anderson's Welcome Series, a series of six woodblock and screenprint editions with Durham Press, which began in 2011 and was recently revisited in 2022. All six woodblock and screenprint editions that comprise this series measure 38 x 58 5/8 inches and are printed on Saunders Waterford 425gsm paper, with the exception of Welcome Series: Black and White which is printed on Revere Suede Standard White 300gsm paper. Black and White and Margaritas are released in an edition of 30, Saint Giles and Little Tobago in an edition of 28, and Huevos and Monos in an edition of 20.


    Iterative thinking is a constant in artist Hurvin Anderson’s work, a mode of thinking he has extended to Welcome Series. Each edition – Welcome Series: Black and White and Margaritas, as well as the new Monos, Little Tobago, Huevos and Saint Giles – are inspired by scenes from the Caribbean, including his parent’s home country of Jamaica, and Trinidad where Anderson held residency in 2002. The series, which he explores both in painting and in print, is unified by the motif of security gates which are nearly ubiquitous devices used to protect homes and businesses on these islands. For Anderson, the gates he overlays over these bar scenes convey both physical and emotional distance – a feeling of living between two places; of returning to a "homeland" as not only a stranger, but a foreigner.

  • Welcome Series acts as a progression, revealing Anderson's process throughout his body of work of returning to a single subject....
    Welcome Series: Black and White (2011)

    Welcome Series acts as a progression, revealing Anderson's process throughout his body of work of returning to a single subject. Here, the progression begins with the original print from 2011 titled Welcome Series: Black and White. As its name suggests, this work's monochromatic palette creates a stark, graphic appearance. The detailed lines of the wallpaper contrast against washes of ink and undulating lines of woodgrain; vague outlines of bikini-clad, lounging bodies look like they have been xeroxed into obscurity. All of this is foregrounded by what remains most constant in this series: the strong geometry of Anderson's gate, in this instance printed in rich black enamel which instantly extends off its flattened background.


    The series begins to soften in Huevos and Monos, two of the four new editions created in 2022 which work to bridge the gap between the previous Welcome Series prints. Instead of sharp black and white we began with, these two new works introduce soft grays which temper their extremes, as well as the new touch of color in the red enamel gate of Monos. In this in-between, Anderson begins to blur our sense of reality as all figuration is replaced by abstract imagery created with different types of woodgrains and plywood. The print becomes geometry and structure, not the Caribbean scene it began as. But we are reoriented by a bar shelf anchored to the right of the print, bringing us back to Anderson's original source while still existing in the subtle hues of ambiguity.

  • Color overtakes the scene in Saint Giles and Little Tobago as red radiates from the woodgrain and deep cobalt blue captures our eyes. The gray abstract imagery carried over from the previous prints now floats on top of its surrounding rich hues instead of being subsumed into grayscale. Anderson uses color to distort this repeated structure: planes push forward where they should recede, flatten where they're expected to extend. Even within these two prints depth is manipulated; the black gate and gray wallpaper in Saint Giles expand space backwards, while in Little Tobago the scene is compressed with its newfound red and teal coloring. A distinct sense of depth begins to emerge, but one that makes our eyes linger as we try to understand a space that doesn't quite piece together.


    It is not until Margaritas that Anderson fully floods us with color: the sunbathers hinted at in Black and White now recline on yellow sand beneath blue skies, black columns come alive in pinks and blues that make your eyes swim, and the bar shelf is bathed in transparent hues. The Caribbean bar scene has boldly come alive as Welcome Series arrives at the end of its evolution, though still hints at its origin as it maintains the same strong structure and returns to its graphic imagery.

  • Durham Press Hurvin Anderson Signing Welcome Series Margaritas Woodblock Screenprint Edition
    Hurvin Anderson proofing Margaritas

    Iteration by iteration, Welcome Series breaks down Anderson's ability to disorient space as he works with and against color and structure. From the subtle nuance of the grayscale Saint Giles to the vivid Margaritas, we see the same snapshot remembered differently each time it is recalled, or a familiar place that seems foreign when we return. By distorting space, Anderson also distorts time and mind. While all six prints stand alone as a strong and complex work of art, each maintain the threads that form the Welcome Series.


    This series, as well as many other works with Hurvin Anderson, is available directly through Durham Press. For more information, please contact us at