This series of 12 prints ( 2 projects are not published yet) are among the biggest original mezzotints ever created. They are printed from 2 or 3 plates with a size of about 66-67,5 x 88-89 cm on Somerset 600g 80x110 cm. Aquatint is sometimes added for colour plates or special effects. These prints were awarded first prices at several international print biennials and art events.

...They are related not only to the past , but to modernity as well. The initial feeling of a literal transfer of elements from a by-gone world gives way to another perception - of a world that bears a deeper meaning. Within it, children's acts, emotions and relations are encoded; they reveal the versatility of the real world and the traces that human presence has left in it. The multi-layer accumulation of past, present and future messages, on the one hand, is an expression of the intensity of the print cycle; on the other, it lends a special integrity to it. Combined with the masterly accomplishment, which impresses with author's techniques, the above mentioned virtues make the works an integral part of the new trends in the printmaking art worldwide.
(Extract of the text written by Denitsa Yaneva (BG) for the personal catalogue dedicated to Marc Frising / International Print Triennial , Varna (BG), 2011)

...Marc Frising's poignantly nostalgic, sensitively engraved dioramas...
(Carol Wax (USA), head of the jury of the International Mezzotint Festival 2011 in Ekaterinburg (URS), in: catalogue of the festival)

Die Gegensätze von Ewigkeit und Moment, Realem und Surrealem, Traum und Wirklichkeit, Gegenwart und Zukunft, die eigenartige Wirklichkeit von Kindheitserinnerungen fügen sich zu enigmatischen Bildern, privaten Geschichten, Spiegelbildern der inneren Realität zusammen und heben sich in der Schönheit der Mezzotinto auf.
Marc Frising lotet die Potenziale der alten Technik immer tiefer aus. Kleinste Details und photorealistisch abgebildete Personen in surrealen Umgebungen sind so überzeugend, weil sie alle in der gleichen Technik mit der gleichen künstlerischen Akribie behandelt werden und daher zur sinnlichen Einheit verschmelzen. Darin liegt die Bedeutung der alten Technik in unserer Epoche der digital generierten und collagierten Bilder.
(Auszug eines Textes - Marc Frising : Die Gegenwart der Vergangenheit - von Philipp Maurer in Vernissage No 290, Dezember 2009, Wien)

The diary of Marc Frising, similarly as at Slobodan Jevtic, is not a variegated omnibus of diversity, but persistently repeated theme - pronounced as a psalm for the time in which we have been, and the one of today, after all scars, we thought it is far away from us - for the time when a starry river flowed through us, and for the time when, through the yards and the old half-lit calm rooms, a Levantine odour of the sky could be felt and the starry grapes created of our blood could be tasted.
Marc Frising or the unique real nostalgia who still reads the numerous collections of dream-tellers, through which the impervious density of the future keeps draining, dimly illuminated by the last oil lamps.
(Extract of a text by Vlado Goreski , art director of the International Triennial of Graphic Art in Bitola, in the catalogue of the 7th International Triennial 2012/ Bitola / Macedonia )