Cheryl Humphreys' Prism Studies marks a quiet yet powerful return to printmaking—her first series created since the January fires in Los Angeles. Drawn to cool blue tones, she explores color as both sensation and refuge, layering delicate hand-pulled impressions that shift subtly with light and perspective. Each print reflects a meditative process, where form and hue converge to create a sense of clarity and calm. In these works, blue becomes more than a color; it is atmosphere, emotion, and a threshold between loss and renewal. In Humphreys' words: Traditional printmaking focuses on creating multiples of the same image. My interest lies elsewhere: in the subtle adjustments that make each print one of a kind, even within an edition. This series is structured in three rows shown here. The top row is printed on hand-dyed paper, resulting in deep, rich tones. The middle row uses the same ink setup but is printed on white paper, creating an illuminated effect. The bottom row consists of ghost prints, residual impressions from the first two rows. The ghost prints have a heathered texture that softly vibrates. Each ghost print exists in an edition of two, printed on undyed paper to highlight its texture. For the blue and green ghost prints, I’ve introduced a new element—colored pencil. This added layer smooths the imperfections inherent in ghost prints, allowing me to engage with the image more intimately. With a soft gaze, I decide which marks to keep and which to erase. These are the first prints I’ve made since the fires. It felt essential to cool off, to immerse myself in deep blues and lush greens.
