Andromeda's Final Encounter, 2020
laser engraved birch plywood relief print on Okawara Japanese washi
I begin by searching for images and texts from the oceans of documents within and between cultures over the past 600+ years. The images are simultaneously technological time markers, material culture and records of humanities rich and yet complicated past. I search archives, antiquarian books stores, libraries, and more recently online to locate source materials. I use digital tools to reconstruct, combine and distort the fragments. They are often tied to our problematic colonial past, while also revealing the evolution of a shared fascination with natural, medical, or theoretical science. I then translocate the selected findings into a new arrangements and reload them into a printing matrix (digital file, etching plate, or lithographic stone). Sometimes the play yields a form of alchemy or "mashup" by chance or calculation. The reintroduction often activates new agency, and the images become part a field of possibilities to be traversed by the viewer who brings their own unique perspective. The goal is to invite speculation, or find a conversation through formal and aesthetic play. The compression of the images into a printing matrix allows the broad range of subjects from the environment, to philosophy, politics and fundamental ethical questions to confront each other.
Within some works such as The Ledge_ Suite I have used ephemera found in my own families archive dating to 1895. The accounting ledger, with an "r" in ledger missing made a readymade backdrop to work within. The tome, a metaphor for a decaying capitalist democracy became the "ledge" we are all on now. In these new arrangements, the past is bound to the present and the nature of our contemporary condition in which we struggle to reconcile past injustice becomes and rich visual journey for the viewer that is hopefully filled with questions.