“My interests include experimental print, material study, and investigating the ontology of the print with multiple substrates.”
“The perception conflates the materials, which includes solid organic materials and residue into a visual experience.
I am witnessing the formation of a thesis on the print as an object, to elaborate more on its ontology, as something that is birthed, felt, witnessed and exchanged; print is both rudimentary and precise, print here will be seen as an open-ended, experimental- print as gestures, print as monotype. etching as something one can work a drawing through. All printing may involve layers. Some layers are planned, some respond to the layers from back in time.”
Footnotes from artist statement:
“[1] The fact that print might have been experimental to begin with? further need to examine where the need to experiment arose from
[2] Referring to the division of print techniques in school
[3] Smith, Keith A. “Structure of the Visual Book”, pg. 21. Residual Concepts: One way of learning is to carry over what is learned from one process to another.
[4] “Residual concepts are one way to hasten new knowledge, by understanding relationships in a new area by employing familiar concepts.” Pg 21, “Structure of the Visual Book”, Keith Smith
[5] “goal is to keep moving through (the process), repetition that mimics repetition”, from a studio visit with an advisor
[6] Ground in painting employed in print, substrate holds the ground and thus the image
[7] Evolution or expansion of the language surrounding derivation of imagery from kickboxing, circling back to exploring line in its essence
[8] Uncovering the need for art, the recognition of exercising observation and creativity in daily life, more and more mundane
[9] The 3-dimensionality, how the object was sensed, what it felt like when being taken in, what it tasted like in imagination
[10] Painting was done the way I practiced drawing- lines like nets thrown around the space occupied by the object
[11] Feelings, intuition- essay on Ana Mendieta, https://www.theparisreview.org/blog/2019/03/08/ana-mendieta-emotional-artist/
[12] Start of intermediality, transfer of visual data across media
[13] Paint- imagery to objecthood
[14] Recognition of the contingency of being a student here and having access to resources I wouldn’t have otherwise, at this pace and extent
[15] A sculptural act, introduced by the act of densifying and condensing matter during a class with Lan Tuazon
[16] Another way images are derived
[17] As a result of learning paper-making and printing on fabric. Sensing the more physical and material presence, the choice for selection influenced by material rather than image, or image coming after material at instances
[18] Due to material quality, but also a more intuitive sensing and developing that sensitivity that leads to deciding how the object could exist- with or without a image, in an arrangement or accompanied or supported by something else
[19] Precise due to the steps involved, or the planning of layers in an a photographic image, rudimentary due to shedding of some boundaries or edges or borders, rudimentary from how simply a monotype could be conceived and defined, or the look of the raw fabric.
[20]The physical movement involved, the strength of the wrist and the core and the dance of the steps
[21] Depending on if the material or image needs it, the clouding over or blocking, or more lines
[22]Back and forth, a printmedia/collage trait?”