

inkjet print
76.2 x 106.7 cm. (30 x 42 in.)
edition of 3 + 2AP

inkjet print
image: 27 x 22.9 cm. (10 3/4 x 9 in.)
sheet: 42 x 38 cm. (16 1/2 x 15 in.)
edition of 3 + 2AP

inkjet print
image: 26 x 17.1 cm. (10 1/4 x 6 3/4 in.)
sheet: 41 x 32 cm. (16 1/4 x 12 1/2 in.)
edition of 3 + 2AP

inkjet print
32.4 x 41 cm.(12 3/4 x 16 1/4 in.)
edition of 3 + 2AP

inkjet print
image: 18.4 x 22.9 cm. (7 1/4 x 9 in.)
sheet: 33.3 x 37.9 cm. (13 x 15 in.)
edition of 3 + 2AP

inkjet print
26 x 19.7 cm. (10 1/4 x 7 3/4 in.)
edition of 3 + 2AP

35.6 x 38.1 cm. (14 x 15 in.)
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image: 23.5 x 35.6 cm. (9 1/4 x 14 in.)
sheet: 38.5 x 50.6 cm. (15 1/4 x 20 in.)
edition of 3 + 2AP

41.3 x 52.1 cm. (16 1/4 x 20 1/2 in.)
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16 x 20.3 cm. (6 1/4 x 8 in.)
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image: 19.1 x 31.8 cm. (7 1/2 x 12 1/2 in.)
sheet: 34 x 47 cm. (13 1/2 x 18 1/2 in.)
edition of 3 + 2AP

33.7 x 41.3 cm. (13 1/4 x 16 1/4 in.)
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The print series Cloudes by Amie Siegel combines details of the sky as portrayed in the work of George Stubbs (1724–1806). A grouping from 2022, Cloude, Clot, and Cloot, was created by Siegel simultaneous to her film Bloodlines (2022), which followed the movement of paintings by Stubbs from private aristocratic homes in England and Scotland to public exhibition, then back again. Siegel re-worked details from various Stubbs paintings, transposing and combining them in the cloud prints; the puffs and veils of cloud, atmosphere, and greenery in the prints are reproduced at one-to-one scale to the original works, suggesting a gathering of imagery that is instantaneous—like the weather—and, just as artworks that come together for exhibition only to drift apart again, combine to produce new meanings from their unexpected juxtapositions and proximity.
Expanding on this body of work, Siegel developed a new series of cloud prints during her spring 2023 residency at the Yale Centre for British Art, in New Haven, CT, which holds the largest collection of works by Stubbs outside of the UK. This new grouping of prints draws from works in the permanent collection, culling and connecting imagery from paintings as well as etchings, honing in on moments of the ephemeral made still.
Together, Siegel’s Cloudes series reveals visual tensions between ageing canvas surfaces, depth perspective, and the latent technologies of image production (engraving, painting, monochrome, colour), and underscores her ongoing interest in temporality, montage and the image as both material and immaterial. The works’ titles each refer to dormant words for clouds, themselves culled from Old English, Scottish, Celtic and Irish languages, suggesting how these ever-changing ‘cloud-capp’d towers’ transcend cultural, geographic and temporal borders.