He Doesn't Title These. He Finds the Titles Already Printed on the Paper.
There is a piece in this collection called 117. Look at the middle of it and you will find a small white card with 117 printed on it, salvaged from whatever book it came out of.
Same with 1531757 — the numbers 153 and 17 are sitting in the layers. Pisces Virgo Axis has a card reading 17. Seer keeps the page numbers 73 and 87 exactly where the original printer set them.
David Castillo Foster works in paper, not paint, and he does not tidy up after himself. The source stays visible. Sunday Morning gave him the 1:1 square and he filled it with other people's pages.
The Material Is Antique and the Cuts Are Not
Nineteenth-century engravings. Torn book leaves. Found photographs a hundred years old. Letterpress fragments, ledger paper, sheet music, natural history plates.
Then a hard modern cut through the middle of it. A glass prism driven through a classical bust in Prisma. A boy from an old family photo given a bird's wings in Icarus As A Boy. A woman set down on a pink disc in the middle of a desert in Venusian.
Nothing in the work is nostalgic. The old paper is a material, not a mood.
Half the Titles Are Myths
Icarus As A Boy. Virgo Lilith. Pisces Virgo Axis. Jupiter In Pisces. Ojo.
And then the numbers, straight off the page. That gap — the oldest story we have on one wall, a page tag on the next — is the argument the whole collection is having with itself.
The Sunday Morning Standard: Aged paper is the hardest thing on this catalog to reproduce. Twenty scraps in one collage means twenty slightly different whites, and dye ink flattens them into one. Every piece runs as a 12-color archival Giclée on 200gsm Enhanced Matte Art paper with dedicated gray inks, guaranteed against yellowing for over a century — so the paper in the picture ages and the paper it is printed on does not. More on that in our breakdown of what archival Giclée actually buys you.
David Castillo Foster Prints Are Built for the Quadrant
The palette does the work: beige, gray, bone white, sepia and a lot of brown, with exactly one hot color across twenty-one pieces — a red in Prisma. Muted work stacks. Four of these in a 2x2 read as one piece rather than four arguments.
The collection runs through Black Sheep for the celestial and zodiac-charged work and Warm Minimalism for the quiet pieces. Where Do The Children Play is a grid of twenty-five photographs inside a single square, which makes it the natural center of a wall of them — exactly what the Infinite Grid was built for.
Where to Start
Start with Icarus As A Boy if you want the myth. Start with 117 if you want the method. Hang them side by side, which is the version we would pick.
See the full David Castillo Foster collection, exclusive to Sunday Morning (sndymrng.com) and nowhere else.