On a Cloud, 5-Channel video, duration 30m 47s on loop, edition of 5
Untitled, 2017, duration 2m 51s on loop
A Sign of Maturity, 2018, full duration 51m 18s on loop
EPSON WF-2630 Relief Monoprint, 10’x8’, May 2018
Monoprints and relief prints outdate modern desktop printers by centuries, but they are of the same lineage. The printer, as a tool of mechanical reproduction, is supposed to create exact and repeatable images and texts. The printer itself does not show expression or variation, and performs as a clinical medium between screen and paper. Better unnoticed, the desktop printer creates a mute translation of binary data into dots-per-square-inch of ink.
Anyone who’s used a printer knows this doesn’t always go as planned. Printers are complex machines, dealing with the travel of paper and ink at high speeds. When one piece of the process breaks down, the output of a printer can become as unpredictable as the artistic hand of an individual.
The title of this piece is taken from the model of broken printer I used and manipulated to create the source imagery for this hand-printed color monoprint and black relief print. The effects of that broken printer intrigued me. I began experimenting with the ways I could influence this destructive creation -- pushing and pulling full color photo prints on quick drying copy paper through the machine. Discovering an image I appreciated, I decided to take it back into the realm of reproduction, blowing it up and creating an image in a much more laborious process than pushing the print command on a computer.
Many thinkers and artists have considered the process and fallibility of mechanical reproduction, from Walter Benjamin, to Andy Warhol, and Wade Guyton. This print includes an interplay between myself and a machine made more human in its brokenness. The act of taking this image and reproducing it by hand is a role-reversal. I am the printer.