Corner Light Monadnock

Select your print and framing options

10"x8" SOLD OUT

Custom Frame Learn more

14.0x16.5 - Black - Matted

14.0x16.5 - White - Matted

Shipping available within the US only

22"x17" SOLD OUT

Custom Frame Learn more

22.5x27.5 - Black - Matted

22.5x27.5 - White - Matted

Shipping available within the US only

40"x30" SOLD OUT

Custom Frame Learn more

30x40 - Black - Framed to Image

30x40 - White - Framed to Image

Shipping available within the US only

More About This Edition:

+ Limited-edition, exclusive to 20x200
+ Museum quality: archival inks, 100% cotton rag paper unless noted
+ Signed + numbered certificate of authenticity included
+ Directly supports the artist
+ Handcrafted custom-framing is available

Our quoted dimensions are for the size of paper containing the images, not the printed image itself. We do not alter the aspect ratio, nor do we crop or resize the artists’ originals. All of our prints have a minimum border of .5 inches to allow for framing.

Artist Statement


My primary medium is watercolor. Traditionally, watercolor has been used only as a drawing medium. Very few artists have used watercolor as their primary medium. Those few, including John Marin, Paul Klee and Winslow Homer, have elevated the use of watercolor, creating artwork that rivals oil paintings. In painting with watercolor, I endeavor to join their past efforts to raise the awareness of watercolor's versatility by pushing its limits in scale, color, technique and subject matter. I use photography in creating my paintings to capture angles, light, contrast and dimension. My photographs are taken from street level, where the public normally experiences cities and life in general, and where I can create views showing the monumentality of the buildings. With color and contrast, I convert those images onto the watercolor paper as bricks, steel, hard angles and implacable surfaces of the urban world built by advanced engineering and industrial labor. I try to work through all possible solutions, including highly representational pieces to highly abstract "zoomed-in" depictions. I have recently painted buildings historically important in design. Two of those, the Monadnock Building in Chicago and the AT&T Switching Station in New York City, express themselves as a place for isolation, regeneration and quietude, but also power. As one critic has written of those paintings, "[as watercolor] they serve a hard-hat aesthetic, providing the means of erecting skeletal foundation and social infrastructure, [where the paintings] repeat and extend the architectural structure until it loses any connection to statuesque monument and shades more toward landscape, changing it into a decorative pattern, the social world become wallpaper."[1]


[1]Essay by Lane Relyea and Annika Marie.


Amy Park | See All Editions


Amy Park’s large scale watercolor paintings take Modernist architectural facades as their point of departure. Amy received a BFA in 1999 and an MFA in 2003 from the University of Wisconsin-Madison, and also studied at the School of the Art Institute of Chicago and Ox-Bow Summer Art School. She was a recipient of a Marie Walsh Sharpe Space Program Award in 2007-2008, and an Artist-In-Residence at the Serenbe Institute in 2012. Her work has been exhibited widely in the US, including Morgan Lehman Gallery, New York, NY; Steven Harvey Fine Art Projects, New York, NY, The Suburban (Oak Park, IL) at Project Row House, Houston, TX; The Poor Farm Experiment, Manawa, WI; and Kopeikin Gallery, Los Angeles, CA. Her work is in the permanent collections of Fidelity Investments; The Cleveland Clinic; Deloitte and Touche USA; Microsoft Corporation; The College of DuPage; and Drawing Center’s Artist Archive at the Museum of Modern Art. She lives and works in Long Island City, NY with her partner, artist Paul Villinski and their 3-year-old son, Lark.