Hayal Pozanti, 8 million tons of plastic that go into the sea each year (18-311)

This poignant three- color lithograph by Hayal Pozanti is hand signed, numbered and dated on the lower recto (front) from an edition of 95. To create this image the artist cut out a shape from goldenrod, which was exposed to a positive working photo plate.
This print also bears the printer's chop mark on the lower right recto (front) and verso (back) and publisher's chop marks on the lower left recto (front).
This work is also accompanied by the original documentation sheet from the publisher.
Tamarind No.: 18 - 311.

Hayal Pozanti was born in Istanbul, Turkey. Since receiving her MFA in Painting/Printmaking from Yale University in 2011, Pozanti has had solo exhibitions at Jessica Silverman Gallery, San Francisco; Duve, Berlin, Germany; Brand New Gallery, Milan, Italy; and The Armory Show in New York. Her work has been featured in an impressive list of articles in Artsy, New American Paintings, The Huffington Post, Modern Painters, the Los Angels Times, and the Paris Review.

Pozanti, who is primarily a painter and sculptor, made her first lithographs during her first residency at Tamarind in 2014. She returned in 2018 to do her second residency, creating another exquisite set of monotypes.

In an interview published in New American Paintings (February 2014), Pozanti tells Curator Claude Smith about her experience working at Tamarind:

To my surprise and delight, [creating a lithograph] turned out to be a process that felt much more similar to painting or drawing than printing in the way we understand as digital natives. In lithography, one creates as one is printing and also manipulating the outcome through the process of printing. This is incomparable to pressing a button and waiting for the result to come out of a printer.

Regarding her work, Pozanti had this to share with the Paris Review (June, 2014):

As a Turkish immigrant who has moved from place to place, who speaks several languages, I'm intrigued by the possibility of creating a universal language to unite my cross-cultural experiences. When I think back to my childhood in Istanbul-even during my time as a young professional there-I was always concerned with the question of acceptance and with the idea of unifying people.