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Before beginning her residency at the Albers Foundation, Alex Calinescu arranged for various materials to be shipped to America. This prompted thoughts and raised questions about what she might make. Her decision was to allow the time and place to inform her work without preconceived intent.

There was one exception to this. A simple idea. To mark the end of each day of her residency, by the drawing or painting of an etching plate, and for these to become a series of blind embossed prints; 88 Days.

The size of the plates was determined by several years of working on this format, the number in the series, by the days of her residency.

The journey began on the first night of Alex’s time at the Albers Foundation, with the unpacking of a small, incredibly heavy, wooden crate containing the 88 zinc plates, and with the making of her first plate.

Alex woke on her first morning to the bright white light of unexpected snowfall, and the sight of the single solitary plate, drawn that first night, already marking the otherwise empty studio as her own.

Initially a considered and deliberate reflection of how she felt her day had been, the making of the plate soon became an intrinsic and instinctive part of her daily practice. Frequently working late at night and into the following morning, the plate was often drawn in the early hours of dawn, when nature was at its most still. An honest, true record of a moment in time.

Each finished plate was placed against the walls of the studio, in order of day, the line physically marching out, with increasing speed, the time of her residency.

The plates were then etched by Alex, at the Connecticut studio, a process which took several weeks.

The final plate, no 88, unlike all the others, was drawn during the day, and on the lake, a place where Alex had found enormous peace and tranquillity, to allow time for it too to be etched before the journey home, and thus completing the circle.