AiA Dec. 06 p.129
A series of ten unique silkscreen paintings on panel installed in proximity to their index; an inkjet reproduction of a photocopy detailing a page from an essay by Leah Olman on the work of Tauba Auerbach.
The work began as an accidental, distorted effect produced on the office photocopier while hastily preparing a reading packet for students. This imperfect copy reveals a fissure cutting through the articles text and image. This distortion presents a coincidence when viewed within the context of Olman’s writing and Auerbach’s drawings which were based on Alexander Melville Bell’s visible speech alphabets.
Compositions for the silkscreen paintings are derived from cropping taken directly from the distortion of text within the article; taking a cue from Olman’s closing line, where she writes of Melville-Bell’s alphabets: They may not be familiar any longer, but neither, necessarily, are our own building blocks of meaning, at least when pulled from use and put on view as supple shapes-ciphers with a full, formal life of their own.
AiA / 129, 2010, silkscreen ink and acrylic on panel, 8.5x11 inches (each panel).
Epson Ultrachrome print (folded in 11x8.5 sections), 57 x 44 inches.
2008, Xerox photocopy on paper 11x8.5 inches
A series of ten unique silkscreen paintings on panel installed in proximity to their index; an inkjet reproduction of a photocopy detailing a page from an essay by Leah Olman on the work of Tauba Auerbach.
The work began as an accidental, distorted effect produced on the office photocopier while hastily preparing a reading packet for students. This imperfect copy reveals a fissure cutting through the articles text and image. This distortion presents a coincidence when viewed within the context of Olman’s writing and Auerbach’s drawings which were based on Alexander Melville Bell’s visible speech alphabets.
Compositions for the silkscreen paintings are derived from cropping taken directly from the distortion of text within the article; taking a cue from Olman’s closing line, where she writes of Melville-Bell’s alphabets: They may not be familiar any longer, but neither, necessarily, are our own building blocks of meaning, at least when pulled from use and put on view as supple shapes-ciphers with a full, formal life of their own.
AiA / 129, 2010, silkscreen ink and acrylic on panel, 8.5x11 inches (each panel).
Epson Ultrachrome print (folded in 11x8.5 sections), 57 x 44 inches.
2008, Xerox photocopy on paper 11x8.5 inches
