A serene dimensional-relief serigraph by Jack Sher, Reflections presents a row of winter trees mirrored across still water. Created using Sher’s experimental Monostructure process with epoxy acrylics, the surface glows with amber and ochre tones and subtle tactile depth. Signed and numbered 10/160; 22×30 inches.
What you’re looking at
Reflections depicts a rhythmic procession of slender, leafless trees standing along a narrow horizon line. Below, their forms dissolve into elongated vertical reflections, softly blurred and pulled downward like pigment carried by gravity and time. The composition is calm and contemplative, evoking silence, memory, and seasonal pause.
Style & period
This work belongs to Jack Sher’s late-20th-century body of process-driven, nature-based abstraction, where recognizable imagery is subordinated to material behavior. The aesthetic bridges modern landscape, abstraction, and low-relief object-making, aligning with studio practices that emphasize surface, texture, and transformation.
Medium & technique (Mixed-Media Epoxy Acrylic Dimensional-Relief Serigraph / Monostructure)
Created using Sher’s proprietary Monostructure method, the work begins with freehand drawing on mylar. Raised partitioned areas are formed, then activated through layered applications of epoxy acrylics and specialized chemical formulations. Over an extended curing period, pigments migrate, pool, and separate organically, producing the characteristic vertical drips and glowing tonal transitions. Each piece is hand-finished, resulting in subtle variation even within an edition.
Signature & editioning
The work is signed “Jack Sher” directly into the surface and numbered 10/160. The integrated signature reinforces the sculptural, object-like nature of the piece. While the edition size is larger than earlier Sher works, the reactive process ensures that no two impressions are visually identical.
Inspiration / story behind the work
The mirrored tree motif functions both literally and metaphorically. The upper register suggests clarity and structure, while the lower reflection dissolves into ambiguity—an image of impermanence and introspection. The title Reflectionsinvites viewers to slow down and engage with the passage of time, memory, and stillness.
Cooper Union School of Art • Wanamaker Medal Recipient • Inventor of “Monostructure”
Born: 1934, New York City
Died: 2000
Nationality: American
Training: Cooper Union School of Art, New York (Scholarship recipient; Wanamaker Medal)
Known for: Monostructure (original technique), experimental chemical art, relief-based abstraction, mylar-based compositions
Active: 1950s–1990s, primarily in NYC
Background & training
Jack Sher was an American artist active primarily during the mid-to-late 20th century. He was a graduate of the Cooper Union School of Art in New York, an institution renowned for its rigorous integration of fine art, design, and material exploration. Early in his career, Sher received the Wanamaker Medal, recognizing exceptional artistic achievement.
Multidisciplinary career
Sher’s professional life spanned fine art, design, and industrial innovation. He worked as a portrait painter, designer, letterer, and muralist, bringing traditional draftsmanship together with applied arts. This breadth of experience deeply informed his later experimental surface work.
Industrial research & decorative arts
Beyond the studio, Sher founded a business producing exclusive dimensional surface effects for the wall-covering and interior-decorating industry. He later worked with a major wall-covering manufacturer in a research and development capacity, inventing mechanical processes and proprietary chemical formulations that recreated the depth and irregularity of Old World artisan finishes through modern means. Trade publications praised his results as “incredible” and “strikingly beautiful.”
The Monostructure process
Sher’s defining contribution is the Monostructure process—an avant-garde technique combining drawing, chemistry, controlled curing, and hand finishing. Using up to 26 custom-formulated chemicals, Sher allowed materials to interact over weeks, producing surfaces that appear grown rather than printed. This places him within a lineage of postwar artists who embraced chance, material behavior, and process as content.
Artistic philosophy & themes
Sher’s work consistently explores the symbiotic relationship between color, texture, and depth. Natural motifs—trees, roots, reflections, flowing horizons—serve as metaphors for organic mutation and continuity. His works are intended to appeal to both sight and touch, rewarding prolonged, contemplative viewing.
Exhibitions, collections & market presence
Many of Sher’s dimensional-relief works were acquired by private collectors, particularly those drawn to tactile modern art and innovative print processes. While Sher does not have a consolidated museum CV widely published in public databases, his works circulate steadily through galleries and the secondary market, accompanied by documentation of the Monostructure technique. His reputation rests on material innovation and surface complexity rather than institutional scale.
Jack Sher (American, 20th c.), Reflections, c.1970s. Mixed-media epoxy acrylic dimensional-relief serigraph on paper, 22 × 30 in. Signed and numbered 10/160. Tree motif with mirrored reflection; created using the artist’s Monostructure process. Provenance: Mitch Morse Gallery → Artfind Gallery, Washington DC.
Artist: Jack Sher (American, 20th century)
Title:Reflections
Date: c. 1970s
Medium: Mixed-media epoxy acrylic dimensional-relief serigraph (Monostructure process)
Dimensions: 22 × 30 inches
Edition: 10/160
Signature/Marks: Signed in surface; numbered
Condition (visual): Warm coloration and intact relief visible; in-person inspection recommended for surface abrasions and paper condition
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC
Authentication Statement: Based on signature, editioning, materials, and consistency with documented Jack Sher Monostructure works, this piece is authenticated as an original work by the artist.
Jack Sher (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC (current owner).
MONOSTRUCTURE is a groundbreaking creative process pioneered by artist Jack Sher that transforms the ordinary into the extraordinary. The journey begins with freehand sketches on Mylar, a material chosen for its durability against the chemical reactions that unfold during the process. Sher meticulously outlines each design with 1/8th inch high lines, creating a grid of partitioned areas ready to come alive. He then fills these segments with a specially formulated blend of 26 chemicals, the result of extensive experimentation, which catalyzes a controlled evolution of the artwork over approximately three weeks. Once the chemical magic has worked its wonders, Sher hand-applies vibrant colors and intricate details, ensuring that even though each piece is signed and numbered in sequence, no two pieces in any series are alike, making each MONOSTRUCTURE a singular masterpiece.
A serene dimensional-relief serigraph by Jack Sher, Reflections presents a row of winter trees mirrored across still water. Created using Sher’s experimental Monostructure process with epoxy acrylics, the surface glows with amber and ochre tones and subtle tactile depth. Signed and numbered 10/160; 22×30 inches.
What you’re looking at
Reflections depicts a rhythmic procession of slender, leafless trees standing along a narrow horizon line. Below, their forms dissolve into elongated vertical reflections, softly blurred and pulled downward like pigment carried by gravity and time. The composition is calm and contemplative, evoking silence, memory, and seasonal pause.
Style & period
This work belongs to Jack Sher’s late-20th-century body of process-driven, nature-based abstraction, where recognizable imagery is subordinated to material behavior. The aesthetic bridges modern landscape, abstraction, and low-relief object-making, aligning with studio practices that emphasize surface, texture, and transformation.
Medium & technique (Mixed-Media Epoxy Acrylic Dimensional-Relief Serigraph / Monostructure)
Created using Sher’s proprietary Monostructure method, the work begins with freehand drawing on mylar. Raised partitioned areas are formed, then activated through layered applications of epoxy acrylics and specialized chemical formulations. Over an extended curing period, pigments migrate, pool, and separate organically, producing the characteristic vertical drips and glowing tonal transitions. Each piece is hand-finished, resulting in subtle variation even within an edition.
Signature & editioning
The work is signed “Jack Sher” directly into the surface and numbered 10/160. The integrated signature reinforces the sculptural, object-like nature of the piece. While the edition size is larger than earlier Sher works, the reactive process ensures that no two impressions are visually identical.
Inspiration / story behind the work
The mirrored tree motif functions both literally and metaphorically. The upper register suggests clarity and structure, while the lower reflection dissolves into ambiguity—an image of impermanence and introspection. The title Reflectionsinvites viewers to slow down and engage with the passage of time, memory, and stillness.
Cooper Union School of Art • Wanamaker Medal Recipient • Inventor of “Monostructure”
Born: 1934, New York City
Died: 2000
Nationality: American
Training: Cooper Union School of Art, New York (Scholarship recipient; Wanamaker Medal)
Known for: Monostructure (original technique), experimental chemical art, relief-based abstraction, mylar-based compositions
Active: 1950s–1990s, primarily in NYC
Background & training
Jack Sher was an American artist active primarily during the mid-to-late 20th century. He was a graduate of the Cooper Union School of Art in New York, an institution renowned for its rigorous integration of fine art, design, and material exploration. Early in his career, Sher received the Wanamaker Medal, recognizing exceptional artistic achievement.
Multidisciplinary career
Sher’s professional life spanned fine art, design, and industrial innovation. He worked as a portrait painter, designer, letterer, and muralist, bringing traditional draftsmanship together with applied arts. This breadth of experience deeply informed his later experimental surface work.
Industrial research & decorative arts
Beyond the studio, Sher founded a business producing exclusive dimensional surface effects for the wall-covering and interior-decorating industry. He later worked with a major wall-covering manufacturer in a research and development capacity, inventing mechanical processes and proprietary chemical formulations that recreated the depth and irregularity of Old World artisan finishes through modern means. Trade publications praised his results as “incredible” and “strikingly beautiful.”
The Monostructure process
Sher’s defining contribution is the Monostructure process—an avant-garde technique combining drawing, chemistry, controlled curing, and hand finishing. Using up to 26 custom-formulated chemicals, Sher allowed materials to interact over weeks, producing surfaces that appear grown rather than printed. This places him within a lineage of postwar artists who embraced chance, material behavior, and process as content.
Artistic philosophy & themes
Sher’s work consistently explores the symbiotic relationship between color, texture, and depth. Natural motifs—trees, roots, reflections, flowing horizons—serve as metaphors for organic mutation and continuity. His works are intended to appeal to both sight and touch, rewarding prolonged, contemplative viewing.
Exhibitions, collections & market presence
Many of Sher’s dimensional-relief works were acquired by private collectors, particularly those drawn to tactile modern art and innovative print processes. While Sher does not have a consolidated museum CV widely published in public databases, his works circulate steadily through galleries and the secondary market, accompanied by documentation of the Monostructure technique. His reputation rests on material innovation and surface complexity rather than institutional scale.
Jack Sher (American, 20th c.), Reflections, c.1970s. Mixed-media epoxy acrylic dimensional-relief serigraph on paper, 22 × 30 in. Signed and numbered 10/160. Tree motif with mirrored reflection; created using the artist’s Monostructure process. Provenance: Mitch Morse Gallery → Artfind Gallery, Washington DC.
Artist: Jack Sher (American, 20th century)
Title:Reflections
Date: c. 1970s
Medium: Mixed-media epoxy acrylic dimensional-relief serigraph (Monostructure process)
Dimensions: 22 × 30 inches
Edition: 10/160
Signature/Marks: Signed in surface; numbered
Condition (visual): Warm coloration and intact relief visible; in-person inspection recommended for surface abrasions and paper condition
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC
Authentication Statement: Based on signature, editioning, materials, and consistency with documented Jack Sher Monostructure works, this piece is authenticated as an original work by the artist.
Jack Sher (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington DC (current owner).
MONOSTRUCTURE is a groundbreaking creative process pioneered by artist Jack Sher that transforms the ordinary into the extraordinary. The journey begins with freehand sketches on Mylar, a material chosen for its durability against the chemical reactions that unfold during the process. Sher meticulously outlines each design with 1/8th inch high lines, creating a grid of partitioned areas ready to come alive. He then fills these segments with a specially formulated blend of 26 chemicals, the result of extensive experimentation, which catalyzes a controlled evolution of the artwork over approximately three weeks. Once the chemical magic has worked its wonders, Sher hand-applies vibrant colors and intricate details, ensuring that even though each piece is signed and numbered in sequence, no two pieces in any series are alike, making each MONOSTRUCTURE a singular masterpiece.
