Time Outside Without Extension
One for the Other
We Belong to this Band - Phase 1
We Belong to this Band - Phase 2
We Belong to this Band - Phase 3
Four Chapters in the Present We Were
Love Stories, Part 3
(co-pilots and trajectories)
All in Good Company, All in Good Time
Visions of a Quasi-Expatriate
Love Stories, Part 2
Operation Pandemic Joy
The Dilemma Game
Handle Like Eggs
Merry Folly (all fall down)
Love Stories, Part 1
Martin Wong Gallery, San Francisco State University
Presented in conjuction with the SGCI conference, Bridges.
Handprinting and inkjet on newsprint, digital video, handmade newspaper/book on library rod
In my studio, I keep a stack of newsprint under my press. I’ve cycled and recycled this stack of newsprint since the year 2000 when I first got the press. I use the sheets as backing paper, allowing them to catch the random extra ink from outside of the image area when I print. The marks are simply the byproducts of the printing process; newsprint is commonly a throw-away sheet used to protect the press from getting inky.
Many of these sheets of newsprint now have multiple layers of “accidental” printing on them. Imagery from various bodies of my work is layered over one another. Colors and marks have built up on both sides of the sheets as they’ve been shuffled and restacked under the press over the years. They are now incidental compositions – some look like Modernist masterpieces (or the work of Richard Tuttle).
I’m fascinated by the visual history and unintentional compositions on these sheets of newsprint. They hold a record of my practice and the personal events of my studio. They archive the marginal, extraneous, residual, accidental – the unexalted and unremarkable. I often think of this record in contrast to more public, remarkable events and records that have run parallel in time to the activities of my studio. For instance, while I was printing the red flowers or memorial portraits that are ghosted on some sheets of newsprint, the world was witnessing a popular uprising in the Arab world, a global economic crisis, wars and natural disasters. As a substrate, newsprint has traditionally carried this kind of information – it is naturally journalistic.
Over the last couple of years, I have experimented with overprinting on the newsprint with photographic imagery from news sources. Then, after printing a relevant news image on the newsprint, I put it back in the stack under the press to be used again.
I’m interested in the metaphor of the accident, of randomness and chance, and in the way beauty and structure exist without intention and are perhaps the natural counterbalance and site for the return from chaos. I’m also interested in the accidental archive as a series of breadcrumbs, a forensic diary that marks its own random journey into the 21st century.