Frank Stella’s Circuits series 1982–84 represents a dramatic shift in Stella’s attitude toward printmaking. While working on a series of sculptural ‘relief paintings’ (painted configurations of laser-cut metal shapes), also titled ‘Circuits’, the idea came to him that the remnants from his sculptural work could be rolled with ink and used for relief printing. Up until this point, he had taken to printmaking rather reluctantly and only to refigure his earlier paintings.

Frank Stella views ‘Mosport’ from his ‘Circuits’ series of relief paintings (in progress) on the wall of his studio, Bridgeport Connecticut, June 1982. Photo: Kenneth Tyler. National Gallery of Australia, Gift of Kenneth Tyler 2002

Stella noticed that the outlines of the different shapes cut from sheet metal had been incised deep into the plywood backing-boards and was struck by the richly layered network of lines and curved shapes traced into the wood—both series are named for the way the shapes in the works reference the curvature of speedways. After this epiphany, it was his print practice that informed his work in other media, with his ambitious and inventive projects pushing printmaking beyond its boundaries.

Frank Stella, ‘Block I’ 1981, matrix for the ‘Circuits’ series 1982-84, laser cut plywood. National Gallery of Australia, Canberra, Gift of Kenneth Tyler 2002.

Frank Stella, ‘Block I’ 1981, proof for the ‘Circuits’ series 1982-84, colour woodcut. National Gallery of Australia, Canberra. Gift of Kenneth Tyler 2002

Frank Stella, ‘Block II’ 1981, matrix for the ‘Circuits’ series 1982-84, laser cut plywood. National Gallery of Australia, Canberra. Gift of Kenneth Tyler 2002

Frank Stella, ‘Block II’ 1981, proof for the ‘Circuits’ series 1982-84, colour woodcut. National Gallery of Australia, Canberra. Gift of Kenneth Tyler 2002

Assisted by master printer Kenneth Tyler, Stella experimented wildly on the printed series and in tandem with his developing relief paintings. By layering woodblocks and collaging them with etched metal plates, then printing onto specially crafted, hand-dyed sheets of oversize paper, the results were groundbreaking for their complexity, scale and bold colour. As Stella reflected in a 1995 lecture, later published in Frank Stella at Tyler Graphics, the Circuits series revolutionised his art making, triggering ‘a tremendous feeling of freedom … that I didn’t have to make prints after the paintings’.

Kenneth Tyler and Bob Cross carve a woodblock in preparation for magnesium plate to be inserted for Frank Stella’s ‘Pergusa three’, from the ‘Circuits’ series, Tyler Graphics Ltd., Bedford Village, New York, 1981. Photo: Lindsay Green. National Gallery of Australia, Canberra, Gift of Kenneth Tyler 2002.

Frank Stella, experimental proof for the ‘Circuits’ series 1982-84, colour etching, screenprint with oil stick additions by the artist. National Gallery of Australia, Gift of Kenneth Tyler 2002.

Frank Stella, handmade, hand dyed paper for ‘Pergusa three double’ from the ‘Circuits’ series 1981. National Gallery of Australia, Canberra, Gift of Kenneth Tyler 2002

Frank Stella, ‘Talladega five II’ experimental proof for the ‘Circuits’ series 1982-84, colour woodcut, engraving. National Gallery of Australia, Canberra, Gift of Kenneth Tyler 2002

The NGA holds the most comprehensive collection of Stella’s innovations in print, with over 1100 of his prints, experimental proofs and matrices, including more than 120 related to the Circuits series. Some of these treasures are on display now in Frank Stella: the Kenneth Tyler print collection.

Frank Stella, ‘Pergusa three’ from the ‘Circuits’ series 1982-84, colour relief and woodcut. National Gallery of Australia, Canberra, Purchased with the assistance of the Orde Poynton Fund 2002

Frank Stella, ‘Talladega five I’ from the ‘Circuits’ series 1982-84, colour woodcut . National Gallery of Australia, Canberra, Purchased with the assistance of the Orde Poynton Fund 2002

Frank Stella, ‘Estoril five II’ from the ‘Circuits’ series 1982-84, colour woodcut, engraving. National Gallery of Australia, Canberra, Purchased with the assistance of the Orde Poynton Fund 2002

Frank Stella, ‘Imola three II, state II’ from the ‘Circuits’ series 1982-84, colour woodcut, screenprint, stencil. National Gallery of Australia, Canberra, Purchased with the assistance of the Orde Poynton Fund 2002

Alice Desmond, Curatorial Assistant, Kenneth Tyler Collection

 First published in Artonview no 88 | Summer 2016-17, the NGA’s quarterly magazine. To subscribe, become a member at nga.gov.au/members.