This collage from the Labores del Hogar series combines monoprint and appliqué techniques. The base is a print created using a Gelli Plate and acrylic paints. Rich red and orange hues create a dense, textured background. Graphic elements are layered on top: cutouts from old magazines featuring text and patterns, as well as fragments of gold leaf. The composition's dynamics are built on the contrast between the strict geometry of black stripes and soft, painterly brushstrokes. The final touches are applied with a palette knife and a brush, uniting the scattered details into a cohesive visual object. The Labores del Hogar series is made on pages from a mid-20th century Spanish housekeeping magazine — La Perfecta Ama de Casa. The magazine pages become both material and context: domestic advice from the 1960s, overprinted with abstract gesture and colour. The original text remains visible beneath the layers — a record of another era, absorbed into something new.

Works from the Labores del Hogar series are available in the store.

This video documents the full process of creating abstract monoprint No 885 using a Gelli plate. The work begins with texture — acrylic paint applied directly to the silicone surface using a palette knife and a credit card with one edge notched by a hacksaw. The notched edge works like a comb, dragging through wet paint to create rhythmic parallel lines; the knife builds up irregular masses of colour. Three colours are used: black, white and terracotta. Each layer is applied wet, allowing the colours to partially blend at the edges without fully mixing. A registration guide keeps the paper aligned during printing. From a Gelli plate, only a single print is ever pulled — one impression, one result. What transfers to the paper, what stays on the plate, where the paint tears — these are decisions made by the material, not the hand. The print cannot be repeated. No 885 is available in the store.

Gelli Plate Printing: Creating Abstract Monoprint No 853 The video shows the moment of removing a dried acrylic print from a Gelli plate — the final and most unpredictable step in the monoprinting process. A Gelli plate is a soft silicone printing surface. Acrylic paint is applied directly to the plate, textured with rollers, brushes or found objects, then paper is pressed on top. The print is pulled once — there is no second identical result. The speed of peeling, the moisture in the paint, the pressure applied — all affect what transfers to the paper. No 853 is an acrylic monoprint on paper, part of the ongoing abstract compositions series. The work is available in the store.

No 848 is available in the store.

Frame by frame, prints from the "Zebra" series replace one another: the same plate, pressed onto different surfaces. Here is a zebra on a yellowed page from a typewriting manual — exercises and columns of letters showing through beneath it. The same zebra on a sheet of newspaper — a different era, a different text, a different mood. And then on a sheet covered in acrylic — the colour, the texture, the randomness of a brushstroke change everything.

The plate doesn't change. The zebra stays itself.

That is the point of the project, and the point of this video. I deliberately abandon the traditional logic of printmaking, where an edition means a series of identical copies. Here, every print is unique because its surface is unique — its history, its text, its colour and texture. This is not a copy. It is an interpretation. Each print lives its own separate life.

And in this rhythmic, almost meditative succession of images, a larger thought emerges — about people. Each of us has our own surface: our own culture, our own biography, our own marginal notes scribbled in the corners. Different conditions, different pages, different text surrounding us. But inside — something in common. Something that doesn't depend on time, or geography, or the language we think in. Something that, no matter what, will wake up the next morning and keep going.

The video lasts exactly as long as it needs to for you to feel that.

Works from the Zebra series are available in the store.

In the studio, a painting is never finished, even if placed in the "done" folder. The process continues until delivery to the buyer—that is the final point. The work begins its function only when installed on its intended wall. It interacts with the space and the residents, adding accent and color. Based on these photos from South Tenerife, the works integrate with the interior rhythm. The result is balanced.

At the end of March, Sala L at La Recova in Santa Cruz opened ERRATA. Modus Operandi — a collaborative exhibition by two printmaking collectives based in Tenerife.

Tipos en su Tinta was founded in 2013 by my friends, designers Matthias Beck and Lars Petter Amundsen. Reset Risografik is a risography workshop established in 2020 within the Design Faculty of the Universidad de La Laguna by graphic designer and educator Javier Cabrera.

The concept of the exhibition is built around error as a creative tool. Chance is not corrected here — it becomes the starting point. Risography and letterpress are material, tactile processes where the result is never fully predictable. That unpredictability is where the authors find their language.

On the gallery walls — series of alphabet sheets, each printed differently: different colours, misregistrations, layered impressions. Alongside them, creatures that seem born from errors: accidental images emerging where a typographic print meets a painterly gesture. These are not illustrations — they are side effects of the process that turned out more interesting than the intended result.

I particularly want to mention Lars Amundsen's works using my favourite tool — the Gelli plate. Lars has developed a unique technique: ink is applied to the silicone surface, a letterpress type block is pressed into it, and when the print is pulled, the ink transfers to the paper in a way that sits somewhere between printmaking and painting, between control and accident. I haven't seen anything like it before.

The exhibition runs until May 10, 2026 at Sala L, La Recova, Santa Cruz de Tenerife. Highly recommended — if you're on the island, don't miss it.

My work is now available on Artmajeur, Artling, and Saatchi Art. Prices on these platforms are higher than on my personal website—the difference can reach up to 50% due to high commissions and marketplace fees. However, buying through them has its advantages. These platforms handle all legal documentation, customs clearance, and shipping insurance, which simplifies the import process if you are ordering from another country. Additionally, the marketplace ensures transaction security by holding the payment until the package is actually delivered. This is a convenient option if you prefer using major international systems and their protection protocols, despite the significant markup.

ART CELLS is an open visual system in which the collector assembles the final composition. Every work is an autonomous object with its own internal logic — a dense, tactile surface built up through layered mixed media. The real force of the project emerges when the cells enter into dialogue with one another.

Hand-applied metal leaf shifts with the angle of the light, making the surface behave differently as the viewer moves through the room. These are objects to be experienced in space — not simply images on a wall.

The same set of cells arranged as a tight grid, a horizontal sequence, or a scattered constellation produces entirely different readings of the space around them.

Ordering is straightforward: select works from the ART CELLS gallery, note their IDs, complete payment for the desired number of pieces, and share the ID numbers to confirm your composition. Every cell is a unique original (edition 1/1), hand-signed by the artist and produced with archival materials.

Three standard panel configurations are available by default:

1. Quad — 4 works
2. 2×3 grid — 6 works
3. 3×3 grid — 9 works

Technical details

Type: Original, mixed media
Format per cell: A4 (210 × 297 mm)
Materials: Acrylic, monotype, collage, metal leaf
Edition: Each work unique (1/1)

The ART CELLS Configurator is now live at pospelov.com/art-cells. Choose your layout — one work, a pair, a triptych, or a grid of up to nine — pick any works from the gallery, select a frame colour and wall colour, and see the composition take shape in real time.

Each work in the ART CELLS series is a unique original: A4 acrylic monoprint with hand-applied metal leaf, edition 1/1. The configurator lets you explore combinations before committing — and when you're ready, copies your selection straight to the checkout.

Compositions are available from a single work at €140 up to a nine-piece grid at €1,170.

I have completed a new series — Sacred Geometry. 19 works in acrylic monoprint with gold leaf, A3 paper, 300 gsm.

The starting point is Arthur Clarke's quote: any sufficiently advanced technology is indistinguishable from magic. A modern device can no longer be described in figurative language — its schematic is not a blueprint of a tool, but a geometric abstraction that an ordinary person cannot decode. Technology has moved beyond comprehension and taken on the traits of a divine phenomenon. Only faith remains.

The palette is three colours: gold, matte black, white. Gold leaf as a direct reference to icon painting. Black sets the industrial rhythm — the texture of circuit boards. White is the technological gap, a pause, an interface window. The strict symmetry of the works mirrors the logic of altarpiece compositions: loading indicators and barcodes become mandalas of the digital age.

The series offers a shift in perspective: step out of user mode and become a pilgrim.

The Sacred Geometry configurator has been updated. The tool for building personal wall compositions from the series is now more precise, more flexible, and more functional.

What's new:

Precise dimensions. Each work is displayed with its actual measurements in centimetres. You're not just arranging sheets — you're designing a wall.

Frame width. Choose your moulding profile — from a hairline edge to a substantial frame. The same work in different frames is a different object entirely.

Mat size. Adjustable spacing between the artwork and the frame. The mat changes the scale, the air, and the character of the piece.

Gap between works. Control the density of your arrangement: close-hung, breathing, or with deliberate pauses between each sheet.

Pricing per work. Each piece shows its price directly in the configurator — no need to cross-reference the catalogue.

Share button. Send your composition to a friend, an interior designer, or simply keep it for yourself.

The configurator is available at pospelov.com/sacred-geometry.

Sacred Geometry is a series of abstract works on paper where geometric structures meet gold leaf, texture, and the trace of print. Each work stands alone and belongs to a larger whole — the configurator helps you find your particular combination.