F10/22/47
A series of paintings and double-sided prints that are intended to be viewed as a whole and read within linear, categorized, sets. The work takes its form and structure from scanned pages of an interview with Dexter Sinister and two accompanying pages from the journal Fillip, issue 10.
The printed page is approached as a site for a series of interventions with machines and reproducible forms of production; photocopiers, scanners, laser printers and screen printing. The motion and speed of the initial reproduction is controlled by hand as each page passes through the photocopier’s scanning mechanism. This manipulation is extended by the copier’s controls, enlargement and inverted image. The tabloid, legal and letter sized copies that are produced become an initial layer for an accumulative series of screenprints on both sides of the paper. Some sheets are passed through the copier and laser printer, receiving multiple layers of tonner but the majority receive multiple layers of screen-printed, acrylic ink.
The reference and use of pages from the Dexter Sinister interview is not arbitrary. Their work emerged to define print-media as a flexible, reactive process, agile enough to respond and disseminate information though a range of distributed modes, exhibitions, bookstores or electronic means such as the PDF. This was reflective of contemporary, post-Fordist modes of production such as the Just-in-Time production system, a model that responds to fluctuations in demand. The work of Dexter Sinister offered an alternative approach to print-media and a relationship to design that was not being discussed within the conventional discourse of printmaking. The interview also described a project to distill whisky, a mature, twelve-year process that is contradictory to the “on-demand” methods embodied within their work. The combination of agility and maturation discussed in the interview acts as a prompt for the visual intervention that occurs within F10/22/47.
F10/22/47 completed in 2012 includes twelve unique paintings, silkscreen ink and gesso on panel, 11x17 inches. A series of approximately two-hundred works on paper are printed on 11x17, 8.5x14 and 8.5x11 inch paper sizes.
A series of paintings and double-sided prints that are intended to be viewed as a whole and read within linear, categorized, sets. The work takes its form and structure from scanned pages of an interview with Dexter Sinister and two accompanying pages from the journal Fillip, issue 10.
The printed page is approached as a site for a series of interventions with machines and reproducible forms of production; photocopiers, scanners, laser printers and screen printing. The motion and speed of the initial reproduction is controlled by hand as each page passes through the photocopier’s scanning mechanism. This manipulation is extended by the copier’s controls, enlargement and inverted image. The tabloid, legal and letter sized copies that are produced become an initial layer for an accumulative series of screenprints on both sides of the paper. Some sheets are passed through the copier and laser printer, receiving multiple layers of tonner but the majority receive multiple layers of screen-printed, acrylic ink.
The reference and use of pages from the Dexter Sinister interview is not arbitrary. Their work emerged to define print-media as a flexible, reactive process, agile enough to respond and disseminate information though a range of distributed modes, exhibitions, bookstores or electronic means such as the PDF. This was reflective of contemporary, post-Fordist modes of production such as the Just-in-Time production system, a model that responds to fluctuations in demand. The work of Dexter Sinister offered an alternative approach to print-media and a relationship to design that was not being discussed within the conventional discourse of printmaking. The interview also described a project to distill whisky, a mature, twelve-year process that is contradictory to the “on-demand” methods embodied within their work. The combination of agility and maturation discussed in the interview acts as a prompt for the visual intervention that occurs within F10/22/47.
F10/22/47 completed in 2012 includes twelve unique paintings, silkscreen ink and gesso on panel, 11x17 inches. A series of approximately two-hundred works on paper are printed on 11x17, 8.5x14 and 8.5x11 inch paper sizes.
