Name: Untitled
Brand: MASSIMODECARLO
Price: 1000.0
Availability: OutOfStock

Untitled, 2025

Spencer Lewis

$ 1.000

Edition

11 of 12

Screenprint, oil, acrylic, paper pulp and charcoal on paper

71.7 × 50.8 cm
28 1/4 × 20 inches

MASSIMODECARLO is pleased to unveil Untitled (2025), a new limited-edition series of unique works by Los Angeles-based artist Spencer Lewis.

Each work begins as a test print from the artist’s recently published catalogue UNTITLED. Spencer Lewis, and evolves into something entirely new. Using discarded pages as his canvas, Lewis turns the process of making a book into an act of painting, collapsing the space between reproduction and creation.

Printed on a rough, jute-coloured paper reminiscent of the distinctive fabric Lewis paints on, these works hold the same raw immediacy as his canvases. Across their surfaces, the artist screen prints “Untitled” and “Spencer Lewis” - words that double as signature and provocation. It’s a self-aware, slightly mischievous gesture: the artist writing himself into the work while poking at the notion of authorship and the repetition of one’s name as a brand.

With this limited-edition series of unique works, Lewis treats process as performance. What began as a proof - something meant to be corrected or discarded - is recast as an original. In doing so, Lewis plays with the idea of the “edition” itself, as each work stands on its own. Together, they form a small, tactile record of his practice - raw, direct, and alive - where process outweighs polish.

The Artist

Learn more

Spencer Lewis

Spencer Lewis was born in Hartford, CT, in 1979. He currently lives and works in Los Angeles.

Known for his gestural paintings on carboard and jute, Spencer Lewis uses flashy bright and colorful notions executed through streaked lines, smears of paint and rough strokes that suggest the impulsive creative process underneath. With chaotic, almost infinite layers, Lewis’s canvases conceal and simultaneously unveil a brushstroke, a gesture over the other, stories and moments culminating and accumulating on the painting’s densest parts. Despite the apparent unpredictability of Lewis’s compositions, they are based on a methodology and structure. Lewis is, in fact, interested in pictorial organization and image-making. Consistently concentrating towards the centre of the canvas, Lewis’s brushstrokes frantically tell the different layers of the same narrative. Descriptive marks and eloquent signs build up on the jute to create a history on the verge of legibility.

Lewis’ work is in the permanent collection of the National Museum of African American History and Culture at the Smithsonian Institution, Washington, D.C. and the Crystal Bridges Museum of American Art, Bentoville, Arkansas.