La Rochelle 1928

William Washington made this print, La Rochelle, in 1928 using etching, which is like drawing with acid on a metal plate. The marks feel incredibly precise, each one describing the stone and structure of this waterside city. You can feel the back and forth of the etching tool, making a huge amount of tiny marks that build up the image. Look closely at the surfaces, the wall and water. There's this push-and-pull between near and far, solid and liquid. It's like Washington wanted to show us how everything is connected, how the city breathes with the sea. The lines are so detailed that they almost feel like a map, guiding your eye through the scene. There's a great emphasis on line and tone, without color. Washington has this affinity with Piranesi, with their common architectural focus and their shared love of detail and perspective. Both artists share an interest in how marks and lines can create a whole world.