Imperfect 63 3/8" x 88 7/8", 1988: Geometric print by Roy Lichtenstein

  • Imperfect 63 3/8" x 88 7/8", 1988 is a woodcut and screenprint by Roy Lichtenstein

    Imperfect 63 3/8" x 88 7/8", 1988

    Woodcut and screenprint on 3-ply Supra 100 paper, Sheet: 63 5/16 x 88 7/8 in. (160.8 x 225.7 cm)

    Edition of 45; plus 14 AP, 1 RTP, 1 PPII, 3 GEL, 1 C, 6 SP

    ©The Estate of Roy Lichtenstein

    BACK TO: IMPERFECT SERIES
     
    Roy Lichtenstein’s Imperfect 63 3/8" x 88 7/8" , 1988, is a bold abstract composition from the Imperfect series, defined by its dynamic arrangement of geometric shapes and contrasting patterns. On the left side of the print, a deep pink field is divided into four triangular forms, overlaid with additional geometric elements including Ben-Day dots, green striped lines and smaller yellow and red triangles. At the centre of the composition, three large grey triangles intersect with two prominent patterned shapes, one filled with black Ben-Day dots and the other with tightly spaced black lines, creating visual tension and rhythm across the surface.
     
    To the right, a solid block of red forms a large triangular shape that anchors the composition against the darker background. Executed in woodcut and screenprint on 3-ply Supra 100 paper, the print measures over two metres wide and emphasises the monumental scale characteristic of Lichtenstein’s late abstract works. Issued in an edition of 45 with additional artist’s proofs, the work highlights Lichtenstein’s exploration of geometric abstraction, pattern and colour within the Imperfect series.

  • "I'm excited about seeing things, and I'm interested in the way I think other people saw things." 

     

    - Roy Lichtenstein

    Lichtenstein often worked within a carefully controlled tonal palette, selecting a limited range of colours and repeating them across a composition to create visual balance. Rather than using a wide spectrum, he typically focused on a few dominant hues such as reds, blues, yellows and greens, allowing these colours to interact with patterns like Ben-Day dots or stripes. By keeping the palette restrained, Lichtenstein could exaggerate shapes and emphasise the geometry of his forms, ensuring that colour worked structurally within the image rather than simply decorating it.