February 8 - March 6, 2015
For this exhibition, I returned again to my personal archive of newsprint backing paper collected during the printmaking process since 2001. The visual history and unintentional compositions on the newsprint contain a record of my practice for the past fifteen years. It is an archive of the marginal and accidental, the unexalted and unremarkable. In The Accident Event Register, I present elements of this archive in contrast to more public remarkable events and shared histories, events such as the global economic crisis, the popular uprising in the Arab world, wars, and natural disasters.
As a substrate, newsprint has traditionally carried this kind of shared, ephemeral information – it is naturally journalistic. As a printmaker, I am capitalizing on the historical role of the print as journalistic image and reporter of current events. The work accentuates the relationship of news to newsprint, bridging time and technology through a contrast of printed marks.
FREE STANDING WALL PRINTS, 2001-2015
All gridded wall images are pigment prints on Japanese paper. Each sheet has been printed twice on a wide format archival inkjet printer. The first layer on each sheet is from a scan of newsprint backing paper that held a variety of marks from years of re-use. The inkjet print of the newsprint is meant to be as faithful to the original newsprint as possible. The second layer is a found and edited photographic news image that is meant to be iconic of the particular news event. Those events are as follows:
Fukushima (Tsunami); Katrina (House Markings); Drone Attack (Syria); 9/11 (Twin Towers Rubble); BP Oil Spill (Deepwater Horizon Explosion); Ferguson (Mike Brown Grand Jury Decision)
The newspapers on wooden rods are actual newsprint sheets used in the printmaking process. They show the residual traces of different print processes and images. Many of the sheets have then been printed on digitally using a wide format inkjet printer. The text comes from different sources – newspaper headlines, Sacred Harp lyrics, personal journals, and poems – each with a unique sense of authority, presence, and duration. Each newspaper is loosely themed and developed around the particular marks found on the sheets. The newspapers are meant to be taken down off the wall and leafed through on the tables provided.
The digital video, GRUB, was begun in 2008 in collaboration with Joey Korein and Kacie Erin Smith. It was re-edited with new footage and sound in 2014. The video hypothesizes about the effects of cultural and media images on identity development. It is 2 minutes and 15 seconds long and loops continuously.