Lithograph printed in Handschy Black Proofing ink, a fine, fresh impression of the only state, the full sheet, printed on 225gsm white UK Somerset Satin paper, with margins, hand-signed, dated, titled and numbered in pencil by the artist, hand-colored by the artist in watercolor pencil, executed in a variant edition of 20 examples (there were also 2 numbered Artists Proofs, 2 numbered Hors Commerce proofs, 1 Printers Proof, 1 Center for Contemporary Printmaking Proof (CCP) and 1 Bon à tirer proof), printed by Deb Chaney at the Center for Contemporary Printmaking.
Executed in New York in 2016, the present work is the third in a series of prints the artist has called her "Courtroom Prints."
Having a lengthy interest in criminology, the artist chose to sit in on a criminal court case, and, acting as her own courtroom artist and stenographer, captured moments in the lives of people who have unknowingly become subjects in her work. Alix Lambert has said of this series..."Cameras continue to be banned from courtrooms, making them places where the practice and tradition of drawing still exists for a utilitarian purpose. Courtrooms are open to the public. My interest in drawing, my interest in storytelling, and my interest in our criminal justice system all converge in the courtroom when I sit, sketch and listen as people talk about their lives and their circumstances. I learn a lot about people and about the city I happen to be in. These three drawings were made during an attempted murder case heard in August, 2016, at the Supreme Court of The State of New York (criminal), 320 Jay St. Brooklyn, NY.”