Gabriella Solti

portfolio of prints, drawings, soundscapes and artist books

Untitled, 2016
colour brush pen on digital print, 20.25″ x 17.25″

Honeytrap, 2015
colour brush pen on digital print, 11″ x 8.5″

Levitation, 2015
colour brush pen on digital print, 8.5″ x 11″

Void, 2015
colour brush pen on digital print, 8.5″ x 11″

The Book of Hours

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Unique artist book, pages are hand-sanded microfinishing film and
hand-coloured frosted mylar,120 pages, unpaginated, hand-bound, 
7″ x 11.5″ closed; book cover is made of steel covered with black 
book-cloth (Photo: Rehab Nazzal)
Bookstand: 12" x 12" clear plexi, laid on handmade, hand-polished
metal columns (self supporting, the weight of the book keeps it steady)


spread from the book; left page is hand coloured frosted mylar that let the previous page’s image faintly be seen through; right page is hand sanded silicon carbide microfinsihing film, the erasures on the microfinishing film let the underlying page’s red-orange colour shine through


spread from the book; left page is hand sanded chromium oxide microfinishing film; right page is hand sanded silicon carbide microfinsihing film


close up of a page, made of hand sanded silicon carbide microfinsihing film that let the underlying page’s light yellow colour shine through the erasures

About the book

The Book of Hours, is a unique 120 page codex that expresses my personal values relating to labour. The pages of the book are hand sanded microfinishing films, chromium oxide or silicon carbide. These are microabrasives used in the high tech industry for polishing optical fibre. They are featherweight and have a deceptive silky surface but the particles attached to a clear film are extremely hard to erase. I attempted to erase the surface of the pages by sanding them with sandpaper or sanding cord until my fingers hurt or were bleeding.

These hand sanded pages are sequenced with hand coloured frosted mylar that I coloured through a long, laborious process to create a uniform colour and shine. The various colours as they can be seen through the erasures of the microfinishing films create a variety of images as the viewer turn the pages and layer them on each other.  The microfinishing film also changes colour depending on the amount of light coming through as the viewer turns the page. The green colour of the chromium oxide page turns completely black when held against light.

The individual pages of the book are expressions of intense, manual labour; they are literally the imprints of my labouring body. The repetitive temporal structure of the codex and layered pages on the other hand speak of the time associated with work and labour. The sensuous silky surface of the pages contrasted with the prickly sensations of the erasures gives a variety of tactile experiences to the viewer throughout the book.

The book has no title page, its cover is made of metal sheets to counterbalance the lightweight pages. The metal sheets are covered with book cloth tape and the book is assembled with meticulous care.

In this work I transform contemporary, high tech industrial materials by both raw and skilled manual labour to express my appreciation to both kind of labour.  I believe they are equally valuable and necessary both in life and in making art.

The title of the book, The Book of Hours, has double meaning. They speak both of the hours of labour I invested in the work but it refers also to the medieval Book of Hours, as devotional book. I believe that labour, both raw and skilled labour, is a form of devotion and born out of discipline.

The bookstand is an integral part of the work. It is made of clear plexiglass and two pieces of rough construction steel  that I hand sanded and hand polished for seven hours to achieve a smooth surface. The bookstand is self supporting, the weight of the book keeps it steady. It is a  sculptural-architectural form, an edifice, that presents the book in a way that meets the viewer’s eye in an ideal angle inviting her to step close and engage with the work.

This book was awarded the MCBA Prize 2015 Juror’s Special Recognition of Merit Award and it will be exhibited at the Minnesota Center for Book Arts from July 17 through August 3, 2015 alongside with the other honoured works.

The exhibition of this book at the Minnesota Center for Book Arts was generously supported by the Ontario Arts Council Exhibition Assistance.

I have a plan…








I have a plan  is a 20 page handmade artist’s book, a colouring-in book for grown-ups. Open edition. Digitally printed, hand-sewn with red cloth spine.  Size: 7” x 9” closed. Price: $35


All about Labour




All about Labour, silk/rayon tablecloth, 80" x 120"
each text silkscreened by hand individually

The weeks before the exhibition Sisyphus is Happy opened, I asked people with whom I worked closely in the last two years and who witnessed my intense long-term preoccupation with labour (artistic and otherwise) to send me an excerpt from a published text (poem, philosophical treatise, story, snappy quote, etc.) that they associate with their own thinking about labour, very broadly interpreted. I silkscreened the texts individually on two tablecloths to cover two tables in the gallery during the closing reception. Each tablecloth is 80” x 120” large.

I baked fresh Hungarian treats for the reception May 23. It was a fun experience to read (privately or collaboratively) all the various texts (ranging from an Ikea assembly instruction for a side table to a poem by Seamus Heaney to a clever quote from Chuck Close or another from Emil Zola, and many more. This was my laboriously produced final work (and “souvenir” for me) in the graduate program on the subject (labour) that I was most interested in exploring in the last two years.

Going forward, as part of my print practice, I intend to combine printmaking, labour, and homemade/artisanal food in a performative way that meaningfully engages the community.


Illuminations, 2014
hand-sanded diamond lapping films in various colours and grits, 3” x 6” each, rear video projection loop

Installation view of Illuminations in the exhibition Sisyphus is Happy, Artlab Gallery, 2014

Individual video projections can be seen here:
Illumination I:
Illumination II:
Illumination III:

G_SOLTI_Sisyphus VAC TV version-revised





Work #225, 2014, hand-sanded silicon carbide microfinishing film, 33″ x 74″ (shown on studio wall and free standing)


Work #225, 2014, (detail)


Work #225, 2014, (detail)