Cosentinoworks presents the Hands Series by multimedia artist and educator Daniel Cosentino, a body of work that fuses historical and experimental processes through visual print. These mixed media artworks integrate palladium printing, intaglio etching, and hand-applied metal leaf, including gold, silver, and copper, to evoke a layered expression of gesture, presence, and silence.
Emerging from themes of the latent image and the ephemeral quality of touch, these prints act as both index and artifact. They are not illustrations but accumulations, built through process, surface, and repetition. The hand appears as a trace, a residual form rendered in light and metal, reflecting a conceptual inquiry into the tension between material permanence and spiritual disappearance.
These works are created using a combination of multiple intaglio print plates, platinum or palladium printing, and metal leaf—primarily gold, but also silver and copper. Emerging from a conversation on silence, latent images, and dreams, they explore the tension between the literal and the ethereal. The letters and symbols within these compositions are drawn from texts but often rendered in undecipherable fonts or forms, inviting ambiguity while maintaining a sense of tangibility. The interplay of materials and imagery reflects a duality: they are both grounded in their physicality and suggestive of something transcendent.
1108 emerges from a process of layering touch, impression, and reflective surface. The palladium and intaglio base creates a deep tonal field, into which metal leaf is delicately integrated. The result is a quiet image that holds the gesture of the hand as both artifact and apparition. Like others in the Hands Series, this work contemplates the absence embedded in presence and the ritual of making as a form of remembering.
1106 reflects a tension between gesture and surface. The metal leaf enhances the tonal complexity of the palladium base, allowing the hand’s impression to emerge subtly through layers of process. It is less an image than an event—a trace suspended in time, contemplating the dualities of presence and erasure.
1064 invites contemplation of the surface as a reflective field. The gesture of the hand is etched not only in metal but in memory. Palladium's deep tonal capacity is brought into resonance with the luminosity of leaf, forming an artifact that is both physical and spectral. This print speaks to the repetition of care and the persistence of form.
1075 offers a restrained visual field where touch is not announced but intuited. It speaks in quiet surfaces—palladium’s glow emerging from under leaf and ink. This piece captures the tension between gesture and stillness, permanence and the fading trace, grounding presence in the act of imprint.
1032 is a reflection on absence made visible. The materials—palladium, ink, metal leaf—are treated as surfaces of memory. The hand is not rendered with clarity but felt in the accumulation of form. Each edge, shadow, and gleam becomes a fragment of a larger, unseen gesture.
