Printmaking gave Lam an outlet to explore themes of angst and violence that also appear in his paintings, but on a more intimate scale. The prints also had the democratic and politically subversive potential to be circulated to a wide audience. Italian art critic Marco Valsecchi, writing about his printmaking, observed, ‘Lam alerts us to the existence of a disquieting state of being’.
Between 1964 and 1966, Lam worked with the Romanian poet Ghérasim Luca on a series of prints for the book Apostroph’Apocalypse, shown here in display cases. A stateless multi-lingual exile associated with surrealism in Paris, Luca was renowned for his highly experimental poetry and adept punning.