• Seria Ludo 2015
    Series of 5 hand printed woodcuts
    edition of 20, each 76 x 56 cm
  • Seria Ludo translates as “serious matters treated in a playful spirit”. Simply cut and hand printed by the artist in his studio, the directness and improvisatory quality of his woodcut technique is captured in the above quotation. These new prints build on the striking new developments in Le Brun’s recent painting. Colour, shape, touch, risk, all these concerns continue, but colour now dominates, accompanied by handling of confident and celebratory energy.

    Seria Ludo is remarkable for the lucid way in which form arrives so clearly from the method used to achieve it. With nothing but cutting and gouging, and printed merely with the pressure of the hand, this deceptive simplicity nevertheless achieves complexity and nuance. Each print, while following the pattern of the master plate, retains a vivid sense of time and spontaneity through the deliberate unique gestural variations that hand printing involves. When David Anfam writes “…their immediacy is layered, transitional”, he refers to the underlying sense of symbolic significance beyond their immediate effect which gives a coherence of tone throughout Le Brun’s work.
    (David Anfam, “Fire over Ice” published in Christopher Le Brun - New Paintings, London: Ridinghouse Editions, 2014)

    Available exclusively from
  • Motif Light, 1998
    (i) Disc and Wave (ii) Wing, Discs, Tree (iii) Wing and Stars
    Series of 5 hand-printed woodcuts
    Edition of 12, each: 60 x 40.5 cm
  • Le Brun’s painting, printmaking and, more recently, sculpture, relate to each other in complex ways. Working on a number of prints or paintings simultaneously, inventions or effects achieved in an etching may reappear subconsciously in a painting, and in turn in a sculpture – or vice versa. This dialogue between painting, printmaking and sculpture now generates and helps to resolve much of the imagery in Le Brun’s work. Moreover, one painting or print may be the result of a huge amount of experimentation in one or another medium.

    This is the case with the five prints which make Motif Light, which were the end product of a major campaign of printing making. Just as the project Fifty Etchings (1990) began as an open ended invitation to make some etchings and developed into a mammoth project, so Motif Light was the end result of a great many wood cuts, which were eventually distilled to just five prints.
    (From Contemporary Art in Print 1995-2000, 2001)
  • Seven Lithographs, 1989
    (i) 4, (ii) 5, (iii) 7
    Series of 7 lithographs
    Edition of 35, each: 91.5 x 76cm
  • Seven Lithographs was the first of a series of projects made by Le Brun for Paragon Press. The imagery in the lithographs has its origin in the paintings Le Brun made in Berlin where he lived and worked as a guest of the DAAD from 1987-88. For Le Brun the technique is very much a part of the image-making process, and just as he would wield the brush with his arm to make a painting, allowing his physical movement and sense of rhythm to affect the work, so he could do the same in making lithographs on large metal plates. Consequently these prints have a gestural, painterly resonance that is different to the etchings.
    (From Contemporary British Art in Print, exh. cat., Scottish National Gallery of Modern Art, Edinburgh and Yale Center for British Art, 1995-6)