Pressing	
  Matter	
  
	
  	
  
	
  
Mark	
  Johnsen	
  
BFA,	
  Photography,	
  California	
  College	
  of	
  the	
  Arts,	
  2012	
  
	
  
	
  
A	
  thesis	
  support	
  paper	
  submitted	
  in	
  partial	
  fulfillment	
  of	
  the	
  
requirements	
  for	
  the	
  degree	
  of	
  	
  
Masters	
  of	
  Fine	
  Arts	
  
	
  
	
  
Emily	
  Carr	
  University	
  of	
  Art	
  and	
  Design	
  
May	
  2020	
  
	
  
	
  
	
  
	
  
	
  
*All	
  illustrations	
  and	
  definitions	
  by	
  Mark	
  Johnsen.	
  
©Mark	
  Johnsen,	
  2020	
  

	
  
	
  
	
  
	
  
	
  
	
  
Table	
  of	
  Contents	
  
	
  
Matrix……………………………….…………………..	
  3	
  
Registration	
  …………………………….……………	
  5	
  
First	
  Impressions…………….…………………..	
  10	
  
Pressure………………………………….……….…..15	
  
The	
  Reveal………………………………….….……	
  22	
  
The	
  Proof……………………………………….……	
  27	
  	
  	
  
Future	
  Editions……………………………….…...	
  34	
  	
  
Mirroring……..…...…………………..……..….......	
  40	
  
Works	
  Cited………….……………………..………	
  43	
  
Works	
  Consulted……………………………..…..	
  44	
  	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

2	
  

Matrix	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

ma·trix:	
  	
  the	
  source	
  for	
  impression,	
  creating	
  a	
  print.	
  
	
  

	
  
This	
   thesis	
   document	
   is	
   divided	
   into	
   eight	
   chapters,	
   each	
   one	
  
representative	
   of	
   a	
   step	
   and/or	
   necessary	
   component	
   within	
   traditional	
  
printmaking	
  processes.	
  	
  Serving	
  as	
  both	
  didactic	
  terms	
  and	
  metaphoric	
  
interpretations,	
   the	
   steps	
   are	
   essential	
   parts	
   of	
   my	
   explorative	
   and	
  
reactionary	
   print	
   process,	
   methodically	
   formed	
   through	
   intuition	
   and	
  
response.	
   Shedding	
   light	
   on	
   the	
   under	
   workings	
   of	
   my	
   research	
   based	
  
practice,	
  influences,	
  and	
  inspirations,	
  each	
  section	
  adopts	
  the	
  traditional	
  
vocabulary	
   of	
   print	
   as	
   a	
   strategy	
   to	
   validate	
   the	
   historically	
  
underappreciated	
   single	
   impression	
   (monotype)	
   print.	
   	
   Using	
   the	
  
method	
   of	
   “Registration”,	
   I	
   situate	
   my	
   practice	
   in	
   correlation	
   to	
   the	
   land	
  
on	
  which	
  I	
  work	
  and	
  live.	
  My	
  “First	
  impressions”	
  on	
  the	
  unique	
  print	
  are	
  
aligned	
   with	
   its	
   infinitely	
   distinctive	
   and	
   mysterious	
   characteristics,	
  
which	
   support	
   the	
   formulation	
   of	
   the	
   core	
   questions	
   that	
   drive	
   my	
  
creative	
  process.	
  The	
  most	
  vital	
  element	
  of	
  my	
  practice,	
  “Pressure”,	
  is	
  an	
  
entry	
  point	
  to	
  write	
  more	
  specifically	
  about	
  the	
  (physical)	
  work,	
  which	
  

	
  

3	
  

shifts	
   from	
   the	
   outside	
   world	
   to	
   my	
   body,	
   and	
   to	
   the	
   printing	
   press.	
  
Chance	
   is	
   unavoidable:	
   It	
   is	
   through	
   “The	
   Reveal”	
   that	
   the	
   diverse	
  
potentialities	
   of	
   mediums	
   and	
   materials,	
   as	
   well	
   as	
   the	
   occasionally	
  
unexpected	
   variations	
   in	
   the	
   process,	
   display	
   their	
   meaningful	
   impact.	
  
“The	
   Proof”	
   is	
   the	
   unique	
   print	
   in	
   all	
   its	
   various	
   states	
   and	
   inclusivity.	
  
Inevitably,	
   there	
   are	
   many	
   “Future	
   Editions”	
   to	
   come.	
   Their	
  
dissemination	
   and	
   display	
   are	
   dependent	
   on	
   the	
   cyclical	
   elements	
   that	
  
enkindle	
   their	
   creation:	
   when	
   one	
   series	
   of	
   work	
   ends,	
   new	
  
understandings,	
   gestures	
   and	
   formations	
   unearth,	
   informing	
   the	
   next	
  
state.	
   Lastly,	
   the	
   mirroring	
   that	
   occurs	
   when	
   a	
   plate	
   is	
   printed	
   and	
   is	
  
revealed	
  in	
  reverse,	
  acts	
  as	
  a	
  reflection.	
  While	
  not	
  knowing	
  exactly	
  how	
  
events	
   and	
   decisions	
   during	
   the	
   making	
   process	
   will	
   eventuate,	
   a	
  
resolution	
  comes	
  to	
  light	
  by	
  rumination.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

4	
  

Registration	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

reg·is·tra·tion:	
  the	
  method	
  of	
  aligning	
  layers	
  of	
  
information	
  to	
  construct	
  a	
  print.	
  	
  	
  
	
  

	
  

Deconstructed,	
   registration	
   refers	
   to	
   the	
   alignment	
   between	
  
paper	
   and	
   the	
   printing	
   matrix,	
   facilitated	
   by	
   scribed	
   marks	
   or	
   taped	
  
lines	
   as	
   a	
   method	
   to	
   accurately	
   guarantee	
   precision	
   placement.	
   Within	
  
the	
  field	
  of	
  printmaking,	
  for	
  a	
  registration	
  to	
  exist,	
  there	
  must	
  first	
  be	
  a	
  
separation:	
   each	
   layer	
   of	
   information	
   is	
   treated	
   individually	
   and	
  
executed	
   separately,	
   eventually	
   coming	
   together	
   as	
   a	
   whole.	
   This	
  
placement	
  correlates	
  directly	
  to	
  the	
  clarity	
  of	
  the	
  printed	
  medium.	
  I	
  rely	
  
on	
   the	
   essential	
   step	
   of	
   registration	
   to	
   better	
   observe	
   the	
   built	
  
environment 1 	
  and	
   present	
   material	
   in	
   the	
   form	
   of	
   physical	
   objects,	
  
recollected	
  experiences,	
  and/or	
  photographic	
  references	
  for	
  each	
  work.	
  
	
  
Outside	
   of	
   the	
   studio	
   I	
   employ	
   registration	
   as	
   a	
   method	
   to	
   take	
   better	
  
notice	
   of	
   my	
   surroundings.	
   Metaphorically,	
   “registration”	
   can	
   be	
   a	
   tool	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

1	
  Referring	
  to	
  the	
  human-­‐made	
  environment	
  that	
  provides	
  the	
  setting	
  for	
  human	
  activity	
  and	
  the	
  

work	
  described	
  in	
  this	
  thesis,	
  more	
  specifically,	
  taking	
  place	
  in	
  Vancouver,	
  British	
  Colombia.	
  

	
  

5	
  

to	
   analyze	
   my	
   status,	
   the	
   work	
   I	
   make	
   and	
   the	
   politically	
   layered,	
  
geographical	
   positions	
   I	
   have	
   been	
   occupying.	
   Having	
   previously	
  
worked	
   as	
   an	
   independent	
   printmaker	
   in	
   California	
   for	
   several	
   years,	
  
reproducing	
   countless	
   landscapes	
   of	
   the	
   Eastern	
   Sierra; 2 	
  the	
   joyful	
  
memories	
   and	
   awe-­‐inspiring	
   sentiment	
   that	
   inspired	
   the	
   very	
   motifs	
   I	
  
depicted	
   began	
   to	
   fade.	
   Naively,	
   I	
   was	
   representing	
   a	
   landscape	
   without	
  
acknowledging	
   my	
   position	
   as	
   a	
   settler	
   and	
   perpetuating	
   the	
   colonial	
  
romanticization	
  of	
  the	
  land.	
  My	
  registration	
  was	
  “off”,	
  detached	
  from	
  the	
  
subject	
   matter,	
   and	
   not	
   acknowledging	
   any	
   cultural	
   or	
   political	
  
perspective.	
  	
  
	
  
Since	
   beginning	
   my	
   MFA,	
   acknowledging	
   the	
   fortunate	
   status	
  I	
   maintain	
  
has	
   been	
   both	
   humbling	
   and	
   a	
   revelation	
   of	
   genuine	
   graveness.	
   This	
  
acknowledgement	
  has	
  yielded	
  a	
  deeply	
  conscious	
  mindset,	
  factoring	
  in	
  
every	
   action	
   I	
   take	
   and	
   the	
   possible	
   ramifications	
   of	
   those	
   actions.	
  
Working	
   in	
   a	
   communal	
   studio	
   environment	
   has	
   further	
   reinforced	
   an	
  
understanding	
   of	
   my	
   position.	
   I	
   no	
   longer	
   view	
   the	
   act	
   of	
   making	
   as	
   a	
  
solitary	
   endeavor,	
   but	
   instead,	
   as	
   one	
   element	
   comprised	
   within	
   an	
  
ecological	
   framework	
   integral	
   to	
   my	
   practice.	
   My	
   behavior	
   and	
   how	
   I	
  
treat	
   the	
   environment	
   I	
   work	
   in,	
   will	
   have	
   direct	
   affects	
   to	
   those	
   around	
  
me.	
   Through	
   teaching,	
   learning,	
   and	
   by	
   simply	
   being	
   present,	
   an	
  
interconnected	
   and	
   collaborative	
   approach	
   to	
   making	
   has	
   emerged.3	
  	
  
Progressively,	
  I	
  am	
  working	
  towards	
  understanding	
  my	
  privilege,	
  which	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

2	
  A	
  region	
  in	
  California	
  comprising	
  the	
  eastern	
  side	
  of	
  the	
  Sierra	
  Nevada	
  Mountain	
  range,	
  situated	
  on	
  
the	
  ancestral	
  lands	
  of	
  the	
  Central	
  Sierra	
  Miwok,	
  Chemehuevi,	
  Kawaiisu,	
  Mono,	
  Northern	
  Paiute,	
  
Northern	
  Sierra	
  Miwok,	
  Panamint,	
  Southern	
  Sierra	
  Miwok,	
  and	
  Washo	
  Nations.	
  
3	
  This	
  mindset	
  has	
  led	
  to	
  collaborations	
  with	
  other	
  artists,	
  a	
  print	
  specific	
  research	
  assistance-­‐ship,	
  
international	
  printmaking	
  residences,	
  and	
  teaching	
  fellow	
  students	
  in	
  my	
  cohort	
  how	
  to	
  print,	
  all	
  
influencing	
  how	
  I	
  make	
  and	
  conduct	
  myself	
  within	
  the	
  space	
  of	
  the	
  communal	
  print	
  studio.	
  	
  

	
  

6	
  

has	
   facilitated	
   my	
   movement	
   across	
   territories	
   and	
   through	
   life	
   in	
  
general.	
  I	
  am	
  acknowledging	
  my	
  status	
  as	
  an	
  uninvited	
  guest	
  on	
  stolen	
  
and	
  unceded	
  Indigenous	
  lands:	
  previously	
  on	
  Ohlone	
  land,	
  living	
  in	
  the	
  
San-­‐Francisco	
   Bay	
   area	
   and	
   today	
   on	
   the	
   Traditional	
   Coast	
   Salish	
  
Territories,	
   Musqueam,	
   Tsleil-­‐Waututh	
   and	
   Squamish,	
   in	
   Vancouver	
  
where	
  I	
  study	
  and	
  live.	
  

	
  
	
  

Figure	
  1:	
  Artists	
  Arman	
  Vahanyan,	
  Lain	
  Ng	
  and	
  myself	
  work	
  
collaboratively	
  on	
  a	
  monotype	
  print	
  at	
  Druckwerk	
  print	
  studio.	
  
Basel,	
  Switzerland,	
  2018	
  (Photo	
  by	
  Margarit	
  Lehmann)	
  

	
  
Relating	
   my	
   position	
   to	
   print	
   is	
   a	
   mechanical	
   way	
   of	
   approaching	
   it,	
  
which	
  is	
  a	
  statement	
  in	
  itself;	
  it	
  is	
  never	
  wholly,	
  but	
  a	
  matter	
  of	
  layers.	
  It	
  
is	
  a	
  work	
  in	
  progress.	
  This	
  comparison	
  has	
  provided	
  a	
  substantial	
  shift	
  
in	
  my	
  subject	
  matter,	
  a	
  more	
  mindful	
  perspective,	
  and	
  a	
  fascination	
  for	
  
the	
   overlooked.	
   What	
   else	
   may	
   be	
   gained	
   from	
   the	
   spatial	
   relationship	
  
between	
   two	
   elements	
   once	
   they	
   are	
   printed?	
   Throughout	
   my	
   time	
   in	
  
	
  

7	
  

this	
   program	
   I	
   have	
   questioned	
   what	
   can	
   the	
   unique	
   print	
   do?	
   This	
  
question	
   has	
   since	
   developed	
   into	
   a	
   larger	
   inquiry	
   of	
   viewership.	
  
Namely,	
  how	
  can	
  my	
  monotype	
  process	
  serve	
  as	
  a	
  method	
  to	
  slow	
  down	
  
the	
   comprehension	
   of	
   images	
   in	
   an	
   era	
   of	
   over	
   consumption?	
   My	
  
research	
  question	
  attempts	
  to	
  highlight	
  the	
  fluid	
  nature	
  of	
  the	
  monotype	
  
process,	
  which	
  finds	
  itself	
  at	
  the	
  intersection	
  of	
  other	
  disciplines	
  such	
  as	
  
photography,	
   painting,	
   drawing	
   and	
   hybrid	
   printmaking. 4 	
  This	
  
versatility	
  complicates	
  its	
  immediate	
  recognition;	
  through	
  scrutiny	
  and	
  
observation,	
   the	
   monotype	
   is	
   deciphered.	
   My	
   intention	
   is	
   to	
   validate	
  
(slow)	
   contemplation	
   as	
   a	
   mode	
   of	
   examination	
   that	
   can	
   reveal	
   the	
  
forces	
   at	
   play	
   in	
   the	
   making	
   of	
   a	
   unique	
   print	
   and	
   mimic	
   the	
   ways	
   I	
  
register	
  my	
  surroundings.	
  
	
  
I	
   navigate	
   the	
   world	
   with	
   a	
   slow	
   and	
   attentive	
   pace.	
   Walking,	
   cycling,	
  
and	
   skateboarding	
   have	
   provided	
   opportunistic	
   vantage	
   points,	
   which	
  
invite	
   a	
   greater	
   physical	
   and	
   sensorial	
   relationship	
   to	
   place.	
  
Skateboarding	
   in	
   particular	
   has	
   granted	
   me	
   the	
   ability	
   to	
   seek	
   out	
  
alternative	
   ways	
   of	
   interpreting	
   line,	
   topography,	
   and	
   physical	
  
expression.	
  These	
  forms	
  of	
  registration,	
  a	
  series	
  of	
  mental	
  impressions,	
  
eventually	
  turn	
  into	
  embodied	
  knowledge	
  and	
  become	
  the	
  very	
  layers	
  of	
  
content	
  in	
  the	
  print.	
  These	
  experiences	
  are	
  gathered	
  (occasionally	
  in	
  the	
  
form	
  of	
  physical	
  objects,	
  recalled	
  gestures,	
  or	
  photographic	
  references)	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
4	
  The	
  combination	
  of	
  multiple	
  printmaking	
  techniques	
  in	
  a	
  single	
  image.	
  British	
  artist	
  and	
  

printmaker,	
  Richard	
  Hamilton	
  combines	
  methods	
  as	
  he	
  sees	
  fitting	
  and	
  further	
  states,	
  “	
  A	
  medium	
  
need	
  not	
  sit	
  in	
  isolated	
  purity.	
  It	
  has	
  always	
  been	
  my	
  contention	
  the	
  first	
  objective	
  is	
  to	
  achieve	
  a	
  
compelling	
  image	
  and	
  that	
  aim	
  demands	
  a	
  felicity	
  in	
  its	
  implementation.”	
  (Coldwell	
  175)	
  Hamilton’s	
  
method	
  of	
  bringing	
  together	
  techniques	
  as	
  he	
  sees	
  fitting	
  has	
  been	
  instrumental	
  in	
  the	
  evolution	
  of	
  
my	
  latest	
  works:	
  as	
  illustrated	
  in	
  ‘The	
  proof’	
  chapter.	
  

	
  
	
  

8	
  

and	
   later	
   rendered	
   into	
   impressions	
   by	
   my	
   preferred	
   tools	
   of	
  
reproduction:	
  paper,	
  ink,	
  and	
  the	
  press.	
  While	
  the	
  fabric	
  of	
  my	
  printing	
  
process	
   is	
   subject	
   to	
   variation	
   between	
   each	
   series	
   and	
   though	
   the	
  
subject	
   matter	
   shifts	
   in	
   and	
   out	
   of	
   focus,	
   the	
   mechanized	
   press	
   and	
   I	
   are	
  
consistent	
   throughout.	
   Our	
   ritualistic	
   relationship,	
   in	
   which	
   a	
   series	
   of	
  
automated	
   and	
   organic	
   gestures	
   are	
   performed	
   and	
   repeated,	
   remains	
  
uniform.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

9	
  

First	
  Impressions	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

first	
  im·pres·sions:	
  the	
  first	
  time	
  an	
  impression	
  is	
  made,	
  an	
  
encounter	
  and	
  the	
  formation	
  of	
  a	
  mental	
  image.	
  	
  

	
  
A	
   monotype	
   is	
   a	
   unique,	
   single	
   impression	
   print	
   created	
   by	
  
drawing	
   onto	
   a	
   smooth	
   surface	
   and	
   transferred	
   under	
   pressure	
   onto	
   a	
  
sheet	
   of	
   paper.	
   Because	
   the	
   work	
   has	
   no	
   fixed	
   matrix,	
   it	
   cannot	
   be	
  
replicated.	
   It	
   is	
   the	
   simplest	
   type	
   of	
   print,	
   a	
   two-­‐step	
   process	
   at	
   its	
   core.	
  
Yet,	
   its	
   diverse	
   effects	
   and	
   iterative	
   properties	
   are	
   multifaceted.	
   Its	
   one-­‐
off-­‐ness	
   and	
   unpredictable	
   behaviors	
   have	
   historically	
   countered	
  
printmaking’s	
   procedural	
   nature	
   to	
   the	
   point	
   that	
   the	
   technique	
   has	
  
been	
   labeled	
   as	
   a	
   misfit5	
  within	
   the	
   discussion	
   of	
   print.	
   Art	
   historian,	
  
Carla	
   Esposito	
   Hayter	
   writes:	
   “Due	
   to	
   its	
   difficulty	
   of	
   classification,	
   the	
  
monotype	
   had	
   not	
   received	
   due	
   consideration	
   on	
   the	
   art	
   circuits,	
   in	
  
exhibitions	
  or	
  in	
  the	
  specialized	
  studies	
  on	
  drawings	
  or	
  prints	
  right	
  up	
  
to	
  the	
  beginning	
  of	
  the	
  1970s.”	
  (Esposito-­‐Hayter	
  27)	
  I	
  would	
  counter	
  in	
  
saying	
  that	
  critical	
  recognition	
  came	
  much	
  later.	
  In	
  1985,	
  The	
  Chrysler	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
5	
  Print	
  historian,	
  Richard	
  Field	
  writes,	
  “	
  the	
  monotype	
  avoids	
  all	
  conventional	
  modes	
  of	
  visual	
  
thinking.	
  It	
  is	
  this	
  that	
  is	
  the	
  cause	
  of	
  the	
  curator’s	
  dilemma,	
  and	
  it	
  very	
  likely	
  explains,	
  as	
  well,	
  why	
  
so	
  few	
  museums	
  possess	
  significant	
  number	
  of	
  monotypes…	
  Perhaps	
  the	
  problem	
  is	
  that	
  curators	
  
don’t	
  know	
  which	
  drawer	
  to	
  place	
  the	
  monotype:	
  it	
  defies	
  classification.”	
  (Field	
  3)	
  	
  This	
  article	
  
illustrates	
  the	
  ongoing	
  struggle	
  of	
  classification	
  of	
  the	
  monotype	
  that	
  still	
  persists	
  today.	
  

	
  

10	
  

Museum	
  in	
  Norfolk,	
  Virginia,	
  opened	
  a	
  show	
  of	
  Contemporary	
  American	
  
Monotypes.	
   The	
   exhibition	
   and	
   published	
   catalog	
   helped	
   to	
  
contemporize	
  the	
  “painterly	
  print”	
  for	
  an	
  American	
  audience.	
  	
  	
  
	
  

All	
  references	
  to	
  monotype	
  (whether	
  labeled	
  the	
  unique	
  print	
  or	
  unique	
  
impression)	
   in	
   this	
   thesis	
   document	
   aim	
   to	
   further	
   complicate	
   the	
  
position	
  of	
  the	
  unique	
  print	
  in	
  the	
  realm	
  of	
  traditional	
  printmaking	
  and	
  
in	
  doing	
  so,	
  bring	
  justification	
  to	
  its	
  distinctive	
  contribution.6	
  	
  
	
  
An	
   impression	
   in	
   the	
   print	
   world	
   is	
   plainly	
   defined	
   as	
   an	
   imprint	
   on	
  
paper,	
   or	
   other	
   substrates	
   that	
   derives	
   from	
   a	
   printing	
   matrix.	
   In	
   my	
  
printing	
   process	
   I	
   prefer	
   to	
   appropriate	
   French	
   philosopher	
   Georges	
  
Didi-­‐Huberman’s	
   definition	
   of	
   the	
   imprint,	
   or	
   more	
   specifically,	
   his	
  
description	
  of	
  the	
  transfer	
  process	
  at	
  the	
  moment	
  when	
  an	
  impression	
  
takes	
   place.	
   Artist	
   and	
   scholar	
   Dr.	
   Ruth	
   Pelzer-­‐Montada	
   expands	
   on	
  
Didi-­‐Huberman’s	
   definition	
   by	
   writing	
   that:	
   “The	
   specific	
   nature	
   of	
   the	
  
contact	
  remains	
  hidden.	
  Hence	
  the	
  imprint's	
  presence	
  and	
  authenticity	
  
are	
  accompanied	
  by	
  the	
  possibility	
  for	
  ‘fiction,	
  deception,	
  montage,	
  and	
  
exchangeability’.	
   (Pelzer-­‐Montada	
   3)	
   	
   Viewing	
   the	
   impression	
   process	
  
through	
   this	
   lens	
   not	
   only	
   emphasizes	
   the	
   medium’s	
   spontaneous	
  
nature,	
  it	
  adds	
  allure	
  to	
  its	
  mysterious	
  complexity.	
  An	
  impression	
  is	
  not	
  
merely	
  an	
  imprint,	
  it	
  is	
  dependent	
  on	
  what	
  is	
  concealed	
  in	
  the	
  making:	
  
chance,	
  failure,	
  time,	
  and	
  pressure.	
  
	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
6	
  It	
  would	
  not	
  be	
  possible	
  to	
  write	
  about	
  the	
  unique	
  contributions	
  that	
  the	
  medium	
  of	
  monotype	
  has	
  

brought	
  to	
  contemporary	
  art	
  without	
  acknowledging	
  the	
  expressively	
  wiped	
  dry-­‐point	
  prints	
  of	
  
Rembrandt	
  in	
  the	
  1650’s	
  and	
  the	
  progressive	
  and	
  revolutionary	
  monotypes	
  by	
  Degas	
  in	
  the	
  1870’s.	
  	
  	
  

	
  

11	
  

In	
   my	
   methods	
   of	
   making,	
   the	
   concealment	
  exists	
   quite	
   literally.	
   When	
  
running	
  the	
  substrate	
  through	
  the	
  press	
  to	
  activate	
  the	
  impression,	
  the	
  
process	
   is	
   hidden	
   under	
   blankets.	
   The	
   amount	
   of	
   time	
   needed	
   to	
  
produce	
   such	
   works	
   and	
   the	
   number	
   of	
   passes	
   an	
   image	
   has	
   been	
  
processed	
  is	
  also	
  hidden.	
  Furthermore,	
  clues	
  of	
  the	
  print’s	
  construction	
  
become	
  increasingly	
  difficult	
  to	
  decipher	
  with	
  each	
  trip	
  under	
  the	
  press.	
  
Unseen	
  factors	
  are	
  pulverized	
  together,	
  pressing	
  matter,	
  later	
  evident	
  in	
  
the	
   print.	
   	
   Matrix	
   fuses	
   with	
   paper,	
   paper	
   becomes	
   index	
   and	
   all	
   that	
  
remains	
  is	
  the	
  proof:	
  the	
  printed	
  object.	
  	
  
	
  
The	
  printmaking	
  methodology	
  has	
  provided	
  me	
  with	
  a	
  set	
  of	
  tools	
  and	
  
concepts	
  to	
  further	
  obscure	
  the	
  fabrication	
  of	
  an	
  image,	
  which	
  aids	
  to	
  a	
  
slower	
   reading	
   of	
   the	
   eventual	
   print.	
   The	
   unavoidable	
   concealment	
   of	
  
some	
  parts	
  of	
  the	
  process	
  as	
  well	
  as	
  the	
  amount	
  of	
  layers,	
  physical	
  and	
  
conceptual,	
   that	
   form	
   the	
   image	
   support	
   this	
   fact.	
   Moreover,	
   I	
   make	
  
impressions	
  in	
  an	
  era	
  where	
   the	
  image	
  itself	
  is	
  taken	
  for	
  granted	
   due	
   to	
  
its	
  ubiquity.7	
  	
  
	
  
In	
   a	
   medium	
   that	
   has	
   historically	
   embraced	
   precision	
   and	
   consistency,	
  
the	
   advent	
   and	
   subsequent	
   mastering	
   of	
   high	
   quality	
   digital	
   printing	
  
processes	
   has	
   reduced	
   the	
   act	
   of	
   “printing”	
   to	
   the	
   click	
   of	
   a	
   mouse.	
  
Imitations	
  of	
  hand	
  pulled	
  aesthetics	
  in	
  the	
  form	
  of	
  Inkjet	
  printing	
  have	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

7	
  I	
  appropriate	
  the	
  term	
  ubiquity	
  in	
  relation	
  to	
  author	
  Luca	
  Massimo	
  Barbero’s	
  writing	
  on	
  abundant	
  
media,	
  “In	
  a	
  world	
  submerged	
  by	
  an	
  unprecedented,	
  undifferentiated	
  and	
  ceaseless	
  flow	
  of	
  images	
  –	
  
using	
  every	
  type	
  of	
  support	
  and	
  channel	
  of	
  dissemination	
  in	
  the	
  media	
  –	
  inundated	
  world	
  of	
  digital	
  
and	
  virtual	
  technology	
  –	
  this	
  pathway	
  ‘around’	
  and	
  towards	
  the	
  monotype	
  can	
  be	
  considered	
  an	
  
opportunity	
  to	
  ‘see’	
  the	
  image	
  once	
  again	
  as	
  a	
  field	
  of	
  experimentation	
  and	
  manual	
  dexterity,	
  as	
  a	
  
desire	
  for	
  the	
  visual	
  experience	
  of	
  the	
  act	
  of	
  creation.”	
  (Hayter	
  9)	
  	
  Massimo	
  Barbero’s	
  view	
  aligns	
  
well	
  with	
  the	
  personal	
  significance	
  I	
  attribute	
  the	
  power	
  of	
  the	
  unique	
  print	
  to	
  hold,	
  namely	
  for	
  its	
  
sensorial	
  nature	
  and	
  physicality.	
  

	
  

12	
  

created	
   the	
   largest	
   threat	
   to	
   the	
   medium’s	
   sustainability.	
   This	
   is	
   not	
   a	
  
claim	
  that	
  print	
  is	
  dead:	
  on	
  the	
  contrary,	
  prints	
  adaptability,	
  resilience,	
  
and	
   tangibility	
   in	
   the	
   wake	
   of	
   such	
   technological	
   advances	
   have	
   only	
  
opened	
  doors	
  for	
  the	
  unique	
  prints	
  potential	
  to	
  be	
  realized.	
  	
  
	
  
This	
   thesis	
   document	
   and	
   the	
   corresponding	
   artworks	
   produced	
   are	
  
partially	
   motivated	
   from	
   the	
   scarcity	
   of	
   the	
   monotype	
   print	
   in	
   the	
  
discussion	
   of	
   contemporary	
   printmaking.	
   Through	
   research,	
   I	
   have	
  
found	
   that	
   a	
   majority	
   of	
   the	
   dialog	
   surrounding	
   printmaking’s	
   current	
  
state	
   can	
   be	
   housed	
   in	
   two	
   genres:	
   the	
   first,	
   honoring	
   traditional	
  
methods	
   and	
   processes	
   with	
   the	
   inclusion	
   of	
   contemporary	
   subject	
  
matter	
   and	
   the	
   second,	
   being	
   a	
   hybrid,	
   incorporating	
   digital	
   processes	
  
with	
  the	
  hand	
  pulled	
  print.	
  In	
  2006	
  the	
  Museum	
  of	
  Modern	
  Art	
  held	
  an	
  
exhibition	
  of	
  contemporary	
  printmaking	
  titled:	
  Since	
   2000:	
   Printmaking	
  
now.	
   	
   The	
   press	
   release	
   proclaimed	
   the	
   new	
   direction	
   of	
   print	
   with	
   a	
  
quote	
   from	
   former	
   assistant	
   curator,	
   Judy	
   Hecker	
   stating	
   that	
  
‘contemporary	
   printmaking	
   is	
   flourishing,	
   with	
   artists	
   turning	
   to	
   new	
  
digital	
   approaches,	
   renewing	
   age-­‐old	
   techniques,	
   and	
   printing	
   with	
  
alternative	
   materials.’	
   (MOMA)	
   Out	
   of	
   the	
   89	
   works	
   featured	
   in	
   the	
  
exhibition,	
   a	
   solitary	
   monotype	
   by	
   Swiss	
   artist,	
   John	
   Armleder	
   was	
  
included	
  as	
  part	
  of	
  an	
  installation	
  of	
  lithographs.	
  A	
  lot	
  has	
  advanced	
  in	
  
print	
   since	
   2006,	
   Forms	
   of	
   Enclosure;	
   a	
   group	
   show	
   in	
   2019	
   at	
   The	
  
International	
   Print	
   Center	
   New	
   York	
   featured	
   six	
   unique	
   works	
   out	
   of	
  
the	
   38	
   shown.	
   When	
   looking	
   back	
   through	
   the	
   exhibition	
   archives	
   at	
  
IPCNY,	
  an	
  average	
  of	
  4	
  to	
  5	
  unique	
  works	
  appear	
   in	
  survey	
  shows	
  since	
  
2012.	
   (IPCNY)	
   While	
   there	
   is	
   no	
   denying	
   these	
   innovative	
   methods	
  

	
  

13	
  

based	
   in	
   reproduction,	
   I	
   prefer	
   to	
   place	
   emphasis	
   on	
   the	
   single,	
  
personal,	
   and	
   unique	
   impression:	
   a	
   result	
   of	
   pressure	
   and	
   chance	
  
working	
   in	
   sync,	
   unattainable	
   by	
   and	
   unlike	
   any	
   other	
   means	
   of	
  
recording.	
  
	
  
The	
   unique	
   print	
   sits	
   at	
   the	
   center	
   of	
   my	
   distinctively	
   human 8	
  
methodology.	
   Shaped	
   by	
   trial	
   and	
   error,	
   my	
   method	
   is	
   based	
   on	
  
attempting	
  to	
  replicate	
  the	
  results	
  of	
  such	
  experiments,	
  and	
  when	
  I	
  have	
  
successfully	
   done	
   so,	
   a	
   methodology	
   is	
   formed.	
   From	
   experiences	
  
outdoors	
   that	
   occur	
   in	
   everyday	
   life,	
   such	
   as	
   skateboarding	
   down	
   the	
  
street,	
  to	
  my	
  interactions	
  inside	
  the	
  studio	
  with	
  materials	
  and	
  others,	
  I	
  
have	
  become	
  cognizant	
  of	
  the	
  sequential	
  events	
  that	
  inspire	
  the	
  prints	
  I	
  
generate.	
   These	
   connections	
   embody	
   multiple	
   narratives	
   that	
   manifest	
  
themselves	
   through	
   process.	
   They	
   are	
   found	
   in	
   the	
   production,	
   in	
   the	
  
repetition	
   of	
   gestures,	
   and	
   within	
   my	
   own	
   physicality	
   in	
   the	
   act	
   of	
  
printing.	
  I	
  now	
  question	
  how	
  can	
  a	
  monotype	
  transform	
  experiences	
  of	
  
place	
   (outside	
   and	
   inside)	
   and	
   turn	
   the	
   printed	
   object	
   and/or	
   gesture	
  
into	
   a	
   static	
   image	
   that,	
   through	
   its	
   abstracted	
   qualities,	
   speaks	
   to	
   the	
  
process	
   of	
   making?	
   Internal	
   and	
   external	
   places	
   bring	
   forth	
  
unconventional	
   matrices9	
  I	
   later	
   use	
   to	
   print	
   and	
   are	
   spaces	
   where	
   I	
  
perform.	
  These	
  gestures	
  are	
  evocative	
  of	
  a	
  personal,	
  physical	
  existence.	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
8	
  Artist	
  and	
  founder	
  of	
  Paupers	
  Press	
  London,	
  Michael	
  Taylor,	
  links	
  printmaking	
  to	
  humanness,	
  “The	
  
making	
  of	
  a	
  print	
  is	
  a	
  very	
  human	
  activity,	
  necessitating	
  the	
  engagement	
  with,	
  or	
  at	
  least	
  access	
  to,	
  a	
  
technical	
  material	
  language…	
  Printmaking	
  requires	
  methods	
  of	
  manufacture	
  and	
  strategies	
  for	
  
delivery	
  in	
  order	
  to	
  satisfy	
  both	
  our	
  urge	
  to	
  record	
  our	
  lives,	
  thoughts	
  and	
  beliefs	
  and	
  our	
  need	
  for	
  
communication	
  and	
  dialogue.”	
  (Taylor	
  10-­‐11)	
  While	
  I	
  agree	
  that	
  printmaking	
  satisfies	
  social	
  desires	
  
for	
  communication	
  and	
  as	
  means	
  of	
  personal	
  recording,	
  it	
  also	
  represents	
  an	
  imperfection	
  that	
  is	
  
characteristically	
  human.	
  Allowing	
  time	
  and	
  room	
  for	
  imperfections	
  in	
  my	
  studio	
  practice,	
  serve	
  as	
  
the	
  starting	
  point	
  for	
  my	
  idiosyncratic	
  print	
  process.	
  
9	
  Found	
  metal,	
  window	
  screens,	
  aluminum	
  shavings,	
  and	
  so	
  on,	
  all	
  opposed	
  to	
  conventional	
  matrices	
  
such	
  as:	
  copper	
  sheets,	
  wood	
  blocks,	
  lithographic	
  stones,	
  and	
  plexi-­‐glass	
  plates.	
  

	
  

14	
  

Pressure	
  
	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

pres·sure:	
  continuous	
  physical	
  force	
  exerted	
  on	
  or	
  against	
  
an	
  object	
  through	
  contact.	
  	
  
	
  

	
  

Printmaking	
  is	
  procedural	
  in	
  its	
  nature.	
  Before	
  the	
  physical	
  act	
  of	
  
“printing”	
   begins,	
   many	
   steps	
   have	
   already	
   occurred.	
   Paper	
   must	
   be	
  
measured	
   and	
   torn,	
   surfaces	
   cleaned	
   and	
   prepped,	
   inks	
   mixed,	
   and	
  
printing	
   plates	
   altered	
   through	
   scribing	
   or	
   drawing.	
   Still,	
   one	
   of	
   the	
  
most	
   crucial	
   steps	
   is	
   the	
   adjustment	
   of	
   the	
   pressure.	
   	
   Over	
   the	
   years,	
  
these	
  sets	
  of	
  preparatory	
  methods	
  have	
  become	
  so	
  familiar	
  that	
  I	
  hardly	
  
notice	
  they	
  are	
  taking	
  place.	
  These	
  repetitive	
  and	
  automatic	
  movements	
  
can	
   be	
   translated	
   as	
   a	
   way	
   of	
   warming	
   up,	
   similar	
   to	
   stretching	
   before	
  
exercise.	
  	
  
	
  
Inside	
   the	
   studio,	
   the	
   pressure	
   applied	
   by	
   my	
  body’s	
   physical	
   ability	
   is	
  
as	
   equally	
   crucial	
   as	
   the	
   mechanized	
   pressure	
   of	
   the	
   press.	
   This	
  
reciprocal	
   relationship	
   greatly	
   influences	
   the	
   density,	
   vibrancy,	
   and	
  
overall	
  effectiveness	
  of	
  the	
  printed	
  image.	
  Bodily	
  strength	
  is	
  essential	
  to	
  
the	
   turning	
   of	
   the	
   wheel	
   so	
   the	
   printing	
   press	
   can	
   function.	
   These	
  

	
  

15	
  

analogous10	
  ways	
   of	
   working	
   are	
   evident	
   in	
   the	
   physical	
   counterparts,	
  
the	
  prints.	
  	
  
	
  
From	
  research	
  methods	
  of	
  observing11	
  the	
  outside	
  world	
  to	
  the	
  eventual	
  
print,	
   pressure	
   is	
   evident	
   in	
   every	
   step	
   of	
   the	
   process.	
   The	
   labor	
  
involved	
  in	
  the	
  crafting	
  of	
  the	
  image	
  is	
  mirrored	
  in	
  its	
  decoding,	
  in	
  the	
  
process	
   of	
   reading	
   the	
   steps	
   an	
   image	
   went	
   through.	
   Past	
   images	
   or	
  
blemishes	
   from	
   previous	
   marks	
   leave	
   traces	
   of	
   residual	
   evidence	
   on	
   the	
  
plate,	
  which	
  often	
  inform	
  the	
  next	
  move.	
  As	
  opposed	
  to	
  the	
  immediate	
  
and	
   sporadic	
   act	
   of	
   printing,	
   unpacking	
   the	
   image	
   after	
   it	
   has	
   been	
  
printed	
  and	
  deciding	
  it’s	
  next	
  state	
  offers	
  a	
  moment	
  of	
  reflexivity.	
  	
  
	
  
Determining	
   if	
   the	
   next	
   move	
   is	
   right	
   is	
   not	
   always	
   easy.	
   Taking	
  
inspiration	
  from	
  the	
  Argentinian	
  poet	
  and	
  art	
  critic	
  Aldo	
  Pellegrini	
  has	
  
helped	
   me	
   alleviate	
   and	
   better	
   understand	
   this	
   pressure.	
   Pellegrini	
  
states:	
   “All	
   destruction	
   releases	
   an	
   enormous	
   amount	
   of	
   energy.	
   It	
   is	
  
through	
   this	
   dynamic	
   impact,	
   this	
   driving	
   action,	
   that	
   destruction	
   lays	
  
the	
   foundations	
   for	
   all	
   future	
   creation.	
   Objects	
   break	
   down	
   or	
   are	
  
destroyed	
  according	
  to	
  the	
  internal	
  laws	
  of	
  the	
  materials	
  that	
  compose	
  
them:	
   their	
   destruction	
   reveals	
   the	
   secret	
   of	
   their	
   fundamental	
  
structure.”	
   (Pellegrini	
   72)	
   Taking	
   Pellegrini’s	
   principal	
   into	
   account,	
   I	
  
fully	
  embrace	
  the	
  forceful	
  action	
  of	
  the	
  printing	
  press	
  and	
  my	
  physical	
  
ability	
   and	
   in	
   turn,	
   revealing	
   the	
   previously	
   hidden	
   structure	
   of	
   the	
  
print.	
  With	
  each	
  pass,	
  new	
  sequences	
  of	
  responsive	
  marks	
  emerge	
  and	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
10	
  Referring	
  to	
  the	
  rudimentary	
  nature	
  of	
  the	
  analog	
  printing	
  press.	
  

11	
  My	
  years	
  of	
  skateboarding	
  in	
  the	
  urban	
  environment	
  have	
  conditioned	
  the	
  way	
  I	
  observe	
  potential	
  

expression	
  in	
  everything.	
  Viewing	
  the	
  world	
  and	
  my	
  art	
  process	
  with	
  this	
  lens	
  has	
  influenced	
  my	
  
mark	
  making	
  and	
  redefined	
  my	
  definition	
  of	
  pressure	
  and	
  print.	
  

	
  

16	
  

that	
   dictate	
  the	
  next	
  action:	
  some	
   prints	
   get	
   set	
  aside	
  and	
  others	
  are	
  re-­‐
worked.	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

Figure	
  2.	
  	
  Untitled	
  (Crushed	
  Index	
  3)	
  Monotype	
  on	
  
Basingwerk	
  paper,	
  Printed	
  from	
  a	
  lithographic	
  plate,	
  
26”x40”	
  2019	
  
	
  

Untitled	
   (Crushed	
   Index	
   3),	
   (Fig	
  2)	
  is	
  a	
  large	
  scale	
  print	
  reminiscent	
  of	
  a	
  
piece	
   of	
   sheet	
   metal	
   that	
   has	
   been	
   weathered,	
   cracked,	
   folded,	
   and	
  
fractured.	
  Shimmering	
  from	
  the	
  application	
  of	
  metallic	
  and	
  glossy	
  black	
  
inks	
   and	
   through	
   its	
   folded	
   surfaces,	
   the	
   printed	
   image	
   is	
   abstracted,	
  
somehow	
   showcasing	
   both	
   matrix	
   and	
   printed	
   form.	
   Its	
   origin	
   and	
  
originality	
   are	
   impressed	
   and	
   intertwined,	
   atomized	
   then	
   fused	
  
together,	
   a	
   gift	
   from	
   the	
   resulting	
   pressure	
   of	
   the	
   mechanical	
   press.	
  
Hints	
  of	
  its	
  machine-­‐driven	
  transformation	
  are	
  evident	
  in	
  the	
  repeated	
  
roller	
   marks,	
   stress	
   folds	
   from	
   the	
   blankets	
   on	
   the	
   press	
   bed,	
   and	
  

	
  

17	
  

multiple	
   layers	
   of	
   ink	
   that	
   have	
   slipped	
   under	
   pressure,	
   blending	
   and	
  
bending.	
   Lunar	
   like	
   craters	
   form	
   resulting	
   from	
   the	
   dents	
   in	
   the	
   metal	
  
matrix	
   it	
   was	
   produced	
   with.	
   Deposits	
   of	
   water-­‐based	
   inks	
   left	
   from	
  
previous	
   compositions,	
   reticulate	
   on	
   the	
   surface	
   as	
   illusionistic	
  
indicators	
   of	
   depth.	
   A	
   sculptural,	
   particular	
   palimpsest,	
   drawing	
   up	
  
associations	
   of	
   aged	
   pavement,	
   crushed	
   automobiles,	
   or	
   petroleum	
  
spills:	
  all	
  helping	
  to	
  transcend	
  the	
  paper	
  backdrop.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

Figure	
  3.	
  Wolfgang	
  Tillmans,	
  “Lighter	
  IX”	
  Chromogenic	
  
Print,	
  61	
  x	
  50.8cm,	
  2007	
  	
  
	
  

Through	
   Untitled	
  (Crushed	
  Index	
  3),	
  I	
   draw	
   direct	
   parallels	
   to	
   the	
   work	
  
of	
   German	
   photographer,	
   Wolfgang	
   Tillmans.	
   Before	
   turning	
   to	
  

	
  

18	
  

printmaking	
  my	
  practice	
  was	
  primarily	
  photographic	
  and	
  I	
  often	
  merge	
  
comparisons	
  between	
  photography	
  and	
  print.	
  Though	
  Tillmans	
  process	
  
is	
   largely	
   photographic,	
   a	
   similar	
   exposé	
   of	
   chance	
   given	
   over	
   to	
   the	
  
machine	
   is	
   demonstrated	
   and	
   the	
   evident	
   pressure	
   can	
   be	
   seen	
   in	
  
Lighter	
  IX.	
   (Fig	
   3)	
   This	
   chromogenic	
   print,	
   a	
   field	
   of	
   blue,	
   riddled	
   with	
  
chemistry	
   and	
   machine	
   markings,	
   showcases	
   a	
   dramatic	
   fold	
   breaking	
  
the	
  regularity	
  one	
  third	
  from	
  the	
  top	
  of	
  the	
  image.	
  To	
  achieve	
  this	
  effect,	
  
Tillmans	
   established	
   a	
   method	
   of	
   working	
   that	
   matches	
   inadvertent	
  
outcome	
   with	
   control.	
   Initially,	
   a	
   paper	
   jam	
   in	
   his	
   machine	
   took	
   place	
  
while	
   working	
   on	
   another	
   series	
   of	
   works.	
   He	
   never	
   answered	
   if	
   he	
  
intentionally	
   fed	
   his	
   machine	
   with	
   the	
   likelihood	
   of	
   knowing	
   another	
  
jam	
  would	
  occur,	
  but	
  he	
  continued	
  on,	
  to	
  create	
  several	
  similar	
  “Lighter”	
  
works.	
  The	
  folds	
  not	
  only	
  help	
  to	
  disrupt	
  the	
  plane	
  of	
  the	
  picture,	
  they	
  
distort	
  the	
  origin	
  of	
  the	
  image.	
  	
  
	
  
I	
  employ	
  a	
  similar	
  balance	
  of	
  disruption	
  (a	
  jam)	
  dependent	
  on	
  pressure	
  
and	
   acceptance	
   (re-­‐creating	
   the	
   jam)	
   through	
   creation,	
   response,	
   and	
  
processing.	
   	
   To	
   know	
   if	
   a	
   print	
   is	
   under/overworked,	
   I	
   call	
   back	
   to	
  
Pellegrini’s	
   definition;	
   and	
   rely	
   on	
   the	
   material	
   to	
   reveal	
   its	
   internal	
  
structure,	
  and	
  in	
  turn	
  lay	
  the	
  groundwork	
  for	
  the	
  next	
  move.	
  	
  
	
  
	
  When	
  working	
  in	
  the	
  studio,	
  the	
  factor	
  of	
  time	
  represents	
  another	
  type	
  
of	
  pressure.	
  Density	
  and	
  detail	
  of	
  the	
  composition	
  can	
  fade	
  rapidly	
  in	
  the	
  
time	
   elapsed	
   between	
   composing	
   and	
   printing.	
   If	
   exposure	
   is	
   too	
   long,	
  
the	
   reciprocal	
   nature	
   of	
   solvents	
   and	
   inks	
   reacting	
   to	
   one	
   another	
   can	
  
effectually	
  deteriorate	
  the	
  image.	
  This	
  characteristic	
  is	
  namely	
  unique	
  to	
  

	
  

19	
  

monotype,	
   an	
   ephemeral	
   quality	
   unattainable	
   in	
   other	
   forms	
   of	
  
planographic	
   printing.12	
  In	
   order	
   to	
   capture	
   an	
   interesting	
   moment	
   as	
  
such	
  on	
  the	
  printing	
  plate,	
  work	
  needs	
  to	
  happen	
  rapidly.	
  The	
  quick	
  turn	
  
around	
   time	
   and	
   ease	
   of	
   accessibility	
   to	
   materials	
   is	
   what	
   makes	
  
monotype	
   appealing;	
   it	
   is	
   immediate,	
   responsive	
   and	
   temporal.	
   Time	
  
assumes	
   presence	
   as	
   evidence	
   by	
   the	
   machine	
   folds	
   in	
   Tillman’s	
  
photograph	
  and	
  by	
  the	
  folds	
  caused	
  by	
  the	
  press	
  in	
  my	
  own	
  work.	
  These	
  
disruptions	
   of	
   time	
   protrude	
   from	
   the	
   two-­‐dimensional	
   plane	
   like	
   a	
  
topographical	
   version	
   of	
   a	
   seismograph,	
   and	
   agitate	
   the	
   straightforward	
  
deciphering	
   of	
   the	
   image.	
   Associate	
   Professor	
   of	
   Philosophy	
   at	
  
Dartmouth	
   University	
   (USA)	
   and	
   author,	
   John	
   Kulvicki	
   writes	
   in	
  
reference	
   to	
   the	
   understanding	
   of	
   time	
   through	
   abstract	
   photographs:	
  
“Experiences	
   of	
   such	
   photos	
   take	
   time,	
   but	
   not	
   in	
   a	
   way	
   that	
   mimics	
   the	
  
time	
   of	
   the	
   motion	
   depicted…these	
   photos	
   fail,	
   strictly	
   speaking,	
  
to	
  depict	
  motion	
   or	
   things-­‐in-­‐time.	
   And	
   if	
   they	
   fail,	
   then	
   it	
   is	
   an	
  
interesting	
   question	
   what,	
   if	
   anything,	
   they	
   succeed	
   in	
   depicting.	
  
These	
  timeless	
  traces	
  of	
  temporal	
  patterns	
  are	
   thus	
   a	
   challenge	
   to	
   how	
  
we	
   understand	
   pictures.”	
   (Kulvicki)	
   Kulvicki’s	
   challenge	
   is	
   one	
  
facilitated	
  by	
  pressure,	
  which	
  I	
  argue	
  to	
  be	
  a	
  significant	
  factor	
  in	
  aiding	
  
to	
   slowing	
   down	
   the	
   consumption	
   of	
   images.	
   The	
   resulting	
   abstracted	
  
representation	
  of	
  passing	
  time	
  in	
  printed	
  form	
  can	
  assume	
  the	
  position	
  
of	
  both	
  metaphor	
  and	
  physical	
  remnant	
  and	
  serve	
  as	
  a	
  tool	
  for	
  gradual	
  
comprehension.	
  	
  
	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

	
  Relating	
  to	
  a	
  printing	
  process	
  in	
  which	
  the	
  printing	
  surface	
  is	
  flat.	
  A	
  similar	
  effect	
  can	
  be	
  achieved	
  in	
  
lithographic	
  printing,	
  capturing	
  reticulated	
  marks	
  through	
  evaporation	
  by	
  the	
  use	
  of	
  Lithographic	
  
touche,	
  however	
  it	
  is	
  a	
  much	
  slower	
  process	
  and	
  typically	
  is	
  etched	
  to	
  create	
  multiple	
  impressions.	
  	
  
12

	
  

20	
  

The	
  various	
  timelines	
  that	
  define	
  all	
  activities	
  of	
  my	
  artistic	
  production	
  
speak	
   to	
   a	
   fluctuating	
   but	
   over-­‐arching	
   pressure.	
   Time	
   and	
   pressure	
   are	
  
bound	
   together,	
   as	
   a	
   single	
   unit.	
   My	
   intuitive	
   and	
   improvisational	
  
printing	
   style	
   urges	
   me	
   to	
   react	
   quickly,	
   unlike	
   my	
   process	
   of	
   looking	
  
and	
   collecting,	
   which	
   requires	
   a	
   slow	
   (contemplation).	
   Navigating	
   the	
  
built	
   environment	
   to	
   find	
   inspiration	
   is	
   a	
   life-­‐long	
   operation,	
   yet	
  
working	
   in	
   the	
   studio	
   is	
   immediate.	
   My	
   materials	
   are	
   exhausted,	
  
through	
   destruction	
   and	
   creation	
   in	
   a	
   rapid	
   manner.	
   I	
   expend	
   printing	
  
matrixes	
  until	
  they	
  are	
  ultimately	
  dismantled	
  through	
  the	
  press	
  and	
  in	
  
turn,	
  the	
  resulting	
  prints	
  aspire	
  to	
  an	
  archival	
  life.	
  	
  
	
  
Pressure,	
  in	
  the	
  form	
  of	
  my	
  body	
  turning	
  the	
  wheel,	
  my	
  feet	
  pressing	
  to	
  
the	
   Earth	
   with	
   every	
   passing	
   step,	
   the	
   mechanical	
   press,	
   compressing	
  
matrix	
   and	
   paper	
   into	
   an	
   image,	
   or	
   ultimately	
   in	
   the	
   destruction	
   of	
  
matter,	
  always	
  results	
  in	
  uncertainty.	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

21	
  

The	
  Reveal	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

re·veal:	
  the	
  act	
  or	
  instance	
  of	
  showing,	
  to	
  make	
  
previously	
  hidden	
  information	
  available	
  to	
  others.	
  
	
  

A	
  generally	
  shared	
  conception	
  of	
  the	
  reveal	
  in	
  printmaking	
  is	
  the	
  
moment	
   when	
   a	
   print	
   is	
   pulled	
   up	
   from	
   the	
   matrix,	
   revealing	
   the	
  
finished	
   work.	
   Commonly	
   seen	
   on	
   social	
   media	
   platforms,	
   artists	
   stage	
  
the	
   moment	
   as	
   a	
   performance,	
   showcasing	
   the	
   reveal	
   as	
   the	
   ultimate	
  
surprise.	
  These	
  demonstrational	
  videos	
  capture	
  the	
  pinnacle	
  moment	
  of	
  
achievement	
  and	
  offer	
  a	
  behind	
  the	
  scenes	
  look	
  of	
  the	
  production.	
  The	
  
reveal	
   is	
   always	
   perplexing	
   and	
   half	
   of	
   the	
   astonishment	
   is	
   attributed	
   to	
  
the	
   image	
   being	
   seen	
   in	
   reverse	
   for	
   the	
   first	
   time.	
   It’s	
   the	
   moment	
   when	
  
labor	
  pays	
  off,	
  or	
  doesn’t.	
  It	
  is	
  an	
  accumulation	
  of	
  hours	
  of	
  unseen	
  work,	
  
unveiled	
   for	
   the	
   first	
   time	
   as	
   printed	
   matter.	
   Through	
   such	
  
performances,	
   myself	
   and	
   countless	
   others	
   are	
   helping	
   to	
   shape	
   and	
  
contribute	
  to	
  a	
  new	
  method	
  of	
  distributing	
  printed	
  media	
  and	
  offering	
  a	
  
glimpse	
  into	
  it’s	
  creation.	
  By	
  the	
  documentation	
  of	
  a	
  moment	
  previously	
  
only	
   known	
   by	
   printmakers,	
   the	
   reveal	
   of	
   the	
   reveal	
   is	
   experiencing	
  
widespread	
  distribution	
  via	
  social	
  media.	
  	
  

	
  

22	
  

But	
  what	
  makes	
  these	
  performances	
  so	
  satisfying	
  for	
  both	
  printmakers	
  
and	
   general	
   audiences	
   alike?	
   Perhaps	
   it	
   is	
   the	
   dependency	
   on	
   chance:	
  
the	
   same	
   principal	
   on	
   which	
   I	
   rely	
   heavily	
   to	
   compose	
   the	
   work.	
   How	
  
three-­‐dimensional	
   objects	
   will	
   render	
   under	
   pressure	
   is	
   uncertain.	
   No	
  
matter	
  how	
  many	
  times	
  I	
  pull	
  a	
  print,	
  I	
  can	
  never	
  accurately	
  predict	
  how	
  
an	
  image	
  will	
  render	
  or	
  how	
  the	
  ink	
  will	
  react	
  to	
  the	
  irregular	
  matrices	
  I	
  
employ.	
  	
  

	
  

Figure	
  4:	
  Screen	
  Print	
  Sunset,	
  Monotype	
  on	
  Stonehenge	
  paper,	
  9’	
  X	
  7.5’	
  2019	
  
	
  	
  

An	
   instance	
   of	
   unplanned	
   actions	
   accumulating	
   to	
   a	
   reveal	
   can	
   be	
   found	
  
in	
   Screen	
   Print	
   Sunset	
   (Fig	
   4).	
   A	
   grid	
   of	
   fifteen	
   large-­‐scale	
   monotype	
  
prints,	
   each	
   displaying	
   intricate,	
   multilayered	
   grids	
   within.	
   The	
   prints	
  
	
  

23	
  

map	
   together	
   to	
   become	
   one,	
   revealing	
   each	
   layer	
   of	
   a	
   process	
   color,	
  
framed	
   with	
   a	
   varying	
   border	
   from	
   edge	
   to	
   edge.	
   The	
   imagery	
   derives	
  
from	
   direct	
   impressions	
   of	
   four	
   separate	
   aluminum	
   mesh	
   window	
  
screens,	
   altered	
   by	
   each	
   run	
   through	
   the	
   press.	
   Each	
   pass	
   reveals	
   a	
   new	
  
color	
   of	
   registration.	
   Cyan,	
   magenta,	
   yellow,	
   and	
   silver	
   ink	
   work	
  
interchangeably	
  to	
  blend	
  and	
  give	
  complexity	
  to	
  every	
  subsequent	
  layer,	
  
divulging	
  a	
  textile	
  like	
  pattern	
  descending	
  downward	
  like	
  a	
  setting	
  sun.	
  
The	
   foundational	
   application	
   of	
   cyan	
   aluminum	
   acts	
   as	
   an	
   imperfect	
  
registration	
   template,	
   loosely	
   guiding	
   and	
   altering	
   each	
   corresponding	
  
layer.	
  Stretching	
  the	
  mesh	
  to	
  my	
  best	
  ability,	
  the	
  material	
  constricts	
  and	
  
contracts	
  as	
  it	
  passes	
  under	
  the	
  press,	
  constructing	
  a	
  moiré	
  pattern.	
  Just	
  
as	
   the	
   mesh	
   eventually	
   loses	
   its	
   structure	
   through	
   repeated	
   pressings,	
  
the	
  imagery	
  in	
  the	
  prints	
  themselves	
  begins	
  to	
  dissipate.	
  	
  
	
  
In	
   referring	
   to	
   the	
   grid	
   based	
   paintings	
   of	
   Canadian-­‐born	
   abstract	
  
painter,	
  Agnes	
  Martin,	
  international	
  curator	
  Catherine	
  de	
  Zegher	
  writes,	
  
“Martin’s	
   paintings	
   reveal	
   sequences	
   of	
   illusions	
   of	
   textures	
   that	
   change	
  
as	
   viewing	
   distance	
   changes.	
   From	
   an	
   earlier	
   materiality	
   of	
   the	
   woven	
  
canvas,	
   gesso,	
   penciled	
   or	
   painted	
   grids	
   and	
   bands,	
   the	
   paintings	
   go	
  
atmospheric,	
   or,	
   rather	
   they	
   feel	
   like	
   mist.	
   They	
   seem	
   to	
   dissolve	
   or	
  
dematerialize.”	
   (de	
   Zehger)	
   Functioning	
   similarly	
   to	
   the	
   work	
   of	
   Martin,	
  
the	
  distance	
  taken	
  in	
  viewing	
  these	
  screen-­‐prints13	
  alters	
  their	
  legibility,	
  
further	
  exaggerated	
  through	
  embossed	
  paper	
  supports.	
  The	
  materiality	
  
of	
   the	
   mesh	
   constructs	
   a	
   dimensionality	
   that	
   transcends	
   their	
   paper	
  
backdrop,	
  appearing	
  as	
  an	
  infinite	
  dimension.	
  	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

13	
  Not	
  to	
  be	
  mistaken	
  with	
  traditional	
  methods	
  of	
  silkscreen	
  printing,	
  these	
  monotypes	
  are	
  direct	
  

impressions	
  of	
  inked	
  aluminum	
  window	
  screens.	
  	
  

	
  

24	
  

	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

Figure	
  5:	
  Agnes	
  Martin,	
  Untitled	
  Ink	
  on	
  paper,	
  11	
  7/8	
  x	
  12	
  1/8"	
  1960	
  	
  	
  
	
  

	
  
Inviting	
   closer	
   inspection,	
   the	
   everyday	
   object-­‐ness	
   of	
   the	
   window	
  
screen	
   slowly	
   evaporates	
   as	
   dizzying	
   networks	
   of	
   pixels	
   emerge.	
   The	
  
work	
  is	
  not	
  easy	
  for	
  the	
  eye	
  to	
  render	
  and	
  functions	
  similar	
  to	
  the	
  prints	
  
included	
   in	
   the	
   2018	
   exhibition,	
   Edge	
   of	
   Visibility.	
   	
   Curated	
   by	
   Art	
   in	
  
Print	
  editor	
  in	
  chief,	
  Susan	
  Tallman	
  and	
  showcased	
  at	
  IPCNY,	
  the	
  highly	
  
intricate	
   and	
   multi	
   layered	
   works	
   were	
   selected	
   because	
   of	
   their	
  
common	
   theme:	
   they	
   were	
   hard	
   to	
   see.	
   Various	
   apparatuses	
   such	
   as	
  
magnifying	
   glasses,	
   special	
   lightning,	
   and	
   computer	
   technology	
   all	
   aided	
  
to	
   the	
   closer	
   examination	
   of	
   the	
   printed	
   works.	
   If	
   such	
   tools	
   were	
  
applied	
  to	
  Screen	
  Print	
  Sunset	
  (Fig	
  4)	
  the	
  window	
  screens	
  might	
  appear	
  
closer	
   to	
   an	
   LED	
   screen.	
   While	
   their	
   unsystematic	
   intricacy	
   renders	
  
them	
   digital,	
   a	
   deeper	
   examination	
   provides	
   a	
   purely	
   physical,	
   non-­‐
virtual	
  explanation,	
  adding	
  a	
  final	
  hovering	
  layer	
  of	
  tension.	
  	
  	
  

	
  

25	
  

The	
   reveal	
   is	
   both	
   a	
   moment	
   of	
   contemplation	
   and	
   response.	
  
Deciphering	
  what	
  transpires	
  during	
  the	
  act	
  of	
  printing	
  is	
  a	
  way	
  for	
  me	
  to	
  
reflect	
  and	
  learn	
  from	
  each	
  pass	
  under	
  the	
  press.	
  If	
  the	
  pressure	
  is	
  too	
  
low	
  or	
  high,	
  the	
  image	
  can	
  result	
  in	
  failure	
  or	
  an	
  unexpected	
  revelation.	
  
Through	
   each	
   unveiling,	
   I	
   am	
   adding	
   firsthand	
   knowledge	
   to	
   an	
   ever-­‐
expanding	
   vocabulary	
   of	
   mark	
   making,	
   which	
   will	
   lead	
   to	
   future	
  
compositions	
   and	
   the	
   refinement	
   of	
   my	
   techniques.	
   This	
   responsive	
  
approach	
   comes	
   through	
   repeated	
   trial	
   and	
   error	
   and	
   with	
   the	
   close	
  
examination	
  of	
  the	
  printed	
  proof.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

26	
  

The	
  Proof	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
proof:	
  a	
  preliminary	
  version	
  of	
  a	
  printed	
  piece,	
  evidence.	
  
	
  

	
  
	
  

Historically,	
  an	
  artist’s	
  proof	
  is	
  a	
  print	
  reserved	
  for	
  the	
  artist	
  and	
  
not	
   included	
   in	
   the	
   numbered	
   edition.14	
  It	
   signifies	
   that	
   it	
   has	
   been	
  
worked	
  and	
  altered	
  over	
  many	
  states	
  and	
  represents	
  a	
  satisfaction	
  held	
  
by	
   both	
   printer	
   and	
   artist.	
   As	
   I	
   label	
   myself	
   as	
   both	
   artist	
   and	
   printer,	
  
the	
   proof	
   holds	
   an	
   alternative	
   meaning.	
   Working	
   exclusively	
   with	
  
monotype,	
   I	
   consider	
   all	
   of	
   my	
   impressions	
   proofs.	
   Labeling	
   the	
   work	
   in	
  
this	
   manner	
   has	
   allowed	
   for	
   a	
   more	
   adventurous,	
   and	
   less	
   precious	
  
approach	
  to	
  working	
  in	
  the	
  studio.	
  	
  
	
  
Instinct	
   and	
   problem	
   solving	
   have	
   encouraged	
   the	
   introduction	
   of	
   the	
  
multiple	
   techniques	
  I	
  employ	
   to	
  build	
  a	
  print.	
  The	
  willingness	
  to	
  add	
  on	
  
to	
  previously	
  thought	
  to	
  be	
  completed	
  pieces	
  has	
  established	
  openness	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
14	
  Susan	
  Tallman	
  defines	
  the	
  function	
  of	
  the	
  multiple	
  to	
  be,	
  “the	
  compound	
  of	
  linkage	
  of	
  art,	
  

economy,	
  social	
  reform,	
  and	
  spiritual	
  content.”	
  (Tallman	
  80)	
  Numbered	
  editions	
  are	
  an	
  economic	
  
solution	
  to	
  owning	
  original	
  art	
  and	
  in	
  the	
  making	
  of	
  an	
  edition,	
  proofs	
  are	
  made	
  along	
  the	
  way.	
  
Typically	
  there	
  is	
  an	
  artist	
  proof,	
  printer’s	
  proof,	
  and	
  a	
  final	
  proof.	
  	
  

	
  

27	
  

to	
   experimentation	
   and	
   the	
   newest	
   development	
   of	
   my	
   practice.	
   This	
  
transient	
   quality	
   suggests	
   a	
   durational	
   quality	
   to	
   the	
   work,	
   and	
   brings	
  
forth	
   the	
   proof	
   as	
   a	
   contemplative	
   pause	
   between	
   each	
   state.	
   These	
  
versatile	
   possibilities	
   broaden	
   the	
   unique	
   prints	
   enigmatic	
   nature	
   and	
  
the	
  rudimentary	
  process	
  of	
  monotype	
  is	
  given	
  another	
  layer	
  to	
  conceal	
  
its	
  origin	
  and	
  to	
  slow	
  its	
  perceptibility.	
  
	
  
I	
   employ	
   multiple	
   techniques	
   in	
   the	
   making	
   of	
   Re-­‐paved	
   parking	
   lots.	
  
(Fig	
   9)	
   In	
   addressing	
   and	
   taking	
   inspiration	
   from	
   Ed	
   Ruscha’s	
   1964	
  
publication,	
   Thirtyfour	
  Parking	
  Lots	
  in	
  Los	
  Angeles,	
  (Fig	
   6)	
   my	
   own	
   lots	
  
are	
   built	
   from	
   the	
   ground	
   up.	
   Ruscha’s	
   volume	
   showcases	
   a	
   series	
   of	
  
aerial	
  photographs,	
  banal	
  squares	
  of	
  empty	
  parking	
  lots	
  in	
  Los	
  Angeles,	
  
possibly	
  inspired	
  by	
  László	
  Moholy-­‐Nag’s	
  1938	
  photograph.	
  (Fig	
  7)
Seen	
   from	
   a	
   rarely	
   viewed	
   vantage	
   point	
   for	
   the	
   time,	
   the	
   every	
   day	
  
scenes	
  transform	
  into	
  flat	
  graphic	
  renderings,	
  their	
  utilitarian	
  functions	
  
fade	
  and	
  an	
  illustrative	
  typology	
  of	
  capitalist	
  culture	
  remains.	
  	
  
	
  

Figure	
  6:	
  Ed	
  Ruscha,	
  Century	
  City,	
  Avenue	
  
of	
  the	
  stars,	
  Silver	
  gelatin	
  print	
  on	
  paper,	
  
394mmx394mm	
  1967	
  
	
  

Figure	
  7:	
  	
  László	
  Moholy-­‐Nag,	
  Parking	
  lot	
  in	
  
Chicago,	
  Gelatin	
  silver	
  photograph,	
  29cm	
  x	
  
34cm	
  1938	
  
28	
  

I	
   credit	
   spending	
   many	
   hours	
   of	
   my	
   life	
   skateboarding	
   in	
   parking	
   lots	
  
and	
   my	
   upbringing	
   in	
   Southern	
   California	
   to	
   the	
   fasciation	
   with	
  
Ruscha’s	
   subject	
   matter.	
   The	
   terrain	
   is	
   familiar	
   and	
   ever	
   present.	
   The	
  
Re-­‐paved	
   parking	
   lots	
   series	
   satisfies	
   a	
   desire	
   to	
   construct	
   a	
  
personalized	
   version	
   entirely	
   printed	
   by	
   hand.	
   It	
   incorporates	
   stone	
  
lithography,	
  silkscreen,	
  photographic,	
  and	
  monotype	
  techniques.	
  Source	
  
materials	
   for	
   the	
   line	
   work	
   in	
   the	
   prints	
   are	
   assembled	
   from	
   actual	
  
locations	
   in	
   Vancouver,	
   temporary	
   spaces	
   soon	
   to	
   be	
   or	
   currently	
   up	
   for	
  
development.	
   Careful	
   examinations	
   from	
   my	
   daily	
   commute	
   are	
  
collected	
   by	
   photo	
   documentation	
   and	
   satellite	
   imagery	
   via	
   of	
   Google	
  
earth	
   (Fig	
   8),	
   a	
   luxury	
   not	
   yet	
   present	
   when	
   Ruscha	
   hired	
   a	
   helicopter	
  
and	
  photographer	
  for	
  his	
  publication	
  in	
  1964.	
  	
  

	
  

	
  
	
  

Figure	
  8:	
  	
  A	
  screenshot	
  from	
  Google	
  Earth:	
  a	
  repaved	
  parking	
  lot	
  in	
  East	
  
Vancouver,	
  2019	
  

29	
  

In	
   a	
   process	
   that	
   mirrors	
   human	
   made	
   construction	
   of	
   real	
   lots,	
   each	
  
print	
  begins	
  with	
  a	
  lithographic	
  layer	
  of	
  marble	
  or	
  limestone,	
  providing	
  
an	
  asphalt	
  texture.	
  With	
  unconventional	
  inking	
  techniques	
  ranging	
  from	
  
drawing	
  with	
  a	
  toy	
  car	
  to	
  dripping	
  motor	
  oil	
  into	
  specific	
  stalls,	
  the	
  lots	
  
are	
   systematically	
   “re-­‐paved”	
   layer	
   by	
   layer	
   through	
   an	
   interleafed	
  
rolled	
  out	
  application	
  of	
  black	
  ink.	
  	
  
	
  
Water	
   based	
   silkscreen	
   lines	
   stand	
   raised	
   and	
   resist	
   over	
   each	
   pass	
   of	
  
the	
   oil-­‐based	
   ink,	
   creating	
   a	
   chartable	
   history	
   of	
   the	
   design	
   lineage.	
  
Fictional	
   depictions	
   of	
   real	
   spaces	
   are	
   conjoined	
   on	
   a	
   single	
   plate,	
  
covering	
   and	
   uncovering	
   new	
   and	
   old	
   marks.	
   The	
   plate	
   becomes	
  

Figure	
  9:	
  Re-­‐paved	
  parking	
  lots,	
  Lithograph,	
  Screen-­‐Print	
  and	
  Monotype	
  on	
  
Basingwerk	
  paper26”x38”	
  2019-­‐Present.	
  
	
  

	
  

30	
  

synonymous	
   with	
   human	
   memory,	
   wearing	
   out	
   materially	
   through	
  
use.15	
  If	
  mistakes	
  are	
  made	
  while	
  printing,	
  they	
  will	
  be	
  paved	
  over.	
  If	
  not	
  
the	
  print	
  rests,	
  is	
  presented,	
  or	
  is	
  stored	
  until	
  the	
  next	
  state.	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

Figure	
  10:	
  Tire	
  marks	
  from	
  a	
  toy	
  car	
  on	
  a	
  marble	
  lithographic	
  
stone,	
  a	
  foundational	
  layer	
  in	
  Re-­‐paved	
  parking	
  lots.	
  

	
  
When	
  thinking	
  about	
  the	
  implementation	
  of	
  multiple	
  print	
  techniques	
  to	
  
decelerate	
   viewership,	
   I	
   draw	
   one	
   of	
   the	
   most	
   ambitious	
   examples	
   to	
  
date	
  in	
  the	
  work	
  of	
  American	
  artist,	
  Ellen	
  Gallagher.	
  	
  Gallagher’s	
  Deluxe	
  
Series	
   (2004-­‐05)	
   (Fig	
   11)	
   combines	
   traditional	
   methods	
   such	
   as:	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

15	
  Mathematician,	
  computer	
  scientist,	
  and	
  pioneer	
  of	
  computer	
  art,	
  Frieder	
  Nake	
  compares	
  human	
  
memory	
  to	
  the	
  printing	
  matrix,	
  writing,	
  “Long	
  term	
  use	
  makes	
  the	
  printing	
  plate	
  ‘forget’	
  (the	
  
impressions	
  fade).	
  The	
  iconic	
  form	
  of	
  the	
  printing	
  memory,	
  its	
  analogous	
  character,	
  is	
  quickly	
  worn	
  
away	
  and	
  can	
  efface	
  the	
  memory	
  of	
  form	
  almost	
  completely.	
  Form	
  is	
  what	
  the	
  material	
  of	
  the	
  printing	
  
plate	
  ‘remembers’.”(Pelzer-­‐Montada	
  178)	
  Through	
  Nake’s	
  example,	
  I	
  am	
  speaking	
  to	
  the	
  literal	
  
memory	
  of	
  the	
  physical	
  locations	
  I	
  depict,	
  having	
  been	
  ‘paved’	
  over,	
  past	
  layers	
  remain	
  present	
  but	
  
never	
  fully	
  legible	
  and	
  to	
  the	
  material	
  nature	
  of	
  the	
  printing	
  plates	
  I	
  use	
  as	
  they	
  wear	
  out.	
  The	
  
connection	
  of	
  subject	
  matter	
  to	
  function,	
  provide	
  form	
  and	
  abstraction,	
  clouding	
  the	
  rendering	
  of	
  a	
  
clear	
  picture	
  (memory).	
  

	
  

31	
  

photogravure,	
   silkscreen,	
   digital	
   printing,	
   and	
   hand	
   drawn	
   elements	
  
with	
   nontraditional	
   additives	
   such	
   as:	
   toy	
   ice	
   cubes,	
   googly	
   eyes,	
   hair	
  
gel,	
   Plasticine,	
   and	
   gold	
   leaf.	
   Exact	
   instructions	
   were	
   provided	
   to	
   Two	
  
Palms	
  Press	
  to	
  complete	
  the	
  massive	
  edition	
  of	
  nearly	
  1,200	
  prints.16	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
Figure	
  11:	
  Ellen	
  Gallagher,	
  Valmor,	
  from	
  Deluxe.	
  Photogravure,	
  screen-­‐
print,	
  Plasticine,	
  gouache,	
  graphite	
  collage,	
  and	
  toy	
  eye	
  balls.	
  10	
  ½”	
  x	
  13”	
  
Edition	
  of	
  20.	
  2004-­‐05	
  

	
  
	
  
	
  

While	
   my	
   hybrid	
   work	
   does	
   not	
   parallel	
   the	
   considerable	
   volume	
   of	
  
techniques	
   and	
   unconventional	
   materials	
   exhibited	
   in	
   the	
   work	
   of	
  
Gallagher,	
   my	
   intention	
   for	
   a	
   longer	
   examination	
   of	
   the	
   printed	
   result	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

16	
  Sarah	
  Suzuki,	
  Curator	
  of	
  Drawings	
  and	
  Prints	
  at	
  the	
  Museum	
  of	
  Modern	
  Art	
  writes	
  “the	
  kind	
  of	
  

porosity	
  demonstrated	
  by	
  Gallagher's	
  project:	
  it	
  simultaneously	
  relies	
  on	
  and	
  explodes	
  tradition;	
  
welcomes	
  the	
  incursions	
  of	
  other	
  mediums	
  and	
  materials;	
  and	
  adopts	
  traditional	
  techniques	
  into	
  a	
  
larger	
  practice	
  to	
  suit	
  formal,	
  technical,	
  or	
  conceptual	
  concerns.”	
  (Suzuki)	
  The	
  pioneering	
  efforts	
  of	
  
Gallagher’s	
  edition	
  both	
  expand	
  the	
  vocabulary	
  of	
  contemporary	
  printmaking	
  and	
  redefine	
  the	
  
notion	
  of	
  the	
  edition.	
  The	
  labor	
  is	
  evident	
  in	
  the	
  piece	
  itself,	
  especially	
  in	
  viewing	
  the	
  complete	
  series	
  
of	
  6o.	
  While	
  my	
  hybrid	
  work	
  does	
  not	
  parallel	
  the	
  shear	
  volume	
  of	
  diverse	
  techniques	
  and	
  materials	
  
in	
  the	
  work	
  of	
  Gallagher,	
  my	
  intention	
  for	
  longer	
  examination	
  remains	
  central,	
  as	
  similarly	
  
demonstrated	
  in	
  Deluxe.
	
  

	
  

32	
  

remains	
   central	
   and	
   the	
   inclusion	
   of	
   multiple	
   techniques	
   prolongs	
   the	
  
viewing.	
  
	
  
The	
   unique	
   proof	
   exemplifies	
   characteristics	
   true	
   to	
   photography,	
  
abstract	
  painting,	
  and	
  through	
  the	
  hybridization	
  of	
  other	
  mediums,	
  can	
  
depict	
   multiple	
   modes	
   of	
   printmaking	
   in	
   one	
   static	
   image.	
   My	
   process	
  
allows	
   for	
   gestures,	
   objects,	
   and	
   depictions	
   of	
   place	
   to	
   be	
   captured	
  
through	
   pressure,	
   yet	
   still	
   encapsulate	
   a	
   pictorial	
   presence.	
   The	
   pressed	
  
matter	
   is	
   reminiscent	
   of	
   photograms,	
   long	
   exposures,	
   and	
   lens-­‐less	
  
methods	
   of	
   photography.	
   The	
   silver	
   gelatin	
   palette	
   I	
   impose	
   is	
   not	
  
confined	
  to	
  a	
  photographic	
  discussion;	
  it	
  rather	
  aids	
  to	
  the	
  delineation	
  
of	
  image	
  and	
  form,	
  referential	
  of	
  minimalist	
  and	
  abstract	
  painting.	
  	
  
	
  
Further	
   exaggerated	
   by	
   the	
   combination	
   of	
   techniques,	
   the	
   unique	
   print	
  
is	
   difficult	
   to	
   classify.	
   My	
   slow	
   and	
   methodical	
   collection	
   process	
   is	
  
offset 17 	
  by	
   my	
   immediate	
   (rushed)	
   style	
   of	
   composing	
   works.	
  
Ultimately,	
   the	
   reduced	
   speed	
   that	
   initiated	
   the	
   work	
   is	
   echoed	
   in	
   the	
  
experience	
   of	
   viewing.	
   The	
   proof	
   is	
   evidence	
   of	
   a	
   varied	
   timeline,	
  
condensing	
   and	
   expanding.	
   The	
   awareness	
   as	
   described	
   by	
   my	
  
‘registration’	
   habits,	
   is	
   the	
   starting	
   point	
   for	
   my	
   next	
   ‘edition’18,	
   which	
  
could	
  be	
  anywhere,	
  including	
  in	
  the	
  cyclical	
  nature	
  of	
  process	
  itself.	
  	
  
	
  
	
  
	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  
17	
  In	
  a	
  similar	
  fashion	
  as	
  the	
  method	
  of	
  offset	
  printing,	
  in	
  which	
  an	
  inked	
  image	
  is	
  transferred	
  or	
  

‘offset’	
  from	
  a	
  plate	
  to	
  a	
  rubber	
  blanket,	
  then	
  to	
  the	
  printing	
  surface.	
  	
  
18	
  I	
  refer	
  to	
  a	
  new	
  type	
  of	
  edition,	
  challenging	
  notions	
  of	
  the	
  past,	
  as	
  exemplified	
  by	
  the	
  work	
  of	
  Ellen	
  
Gallagher.	
  

	
  

33	
  

Future	
  Editions	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  	
  	
  	
  	
  

fu·ture	
  	
  e·di·tions:	
  work	
  to	
  be	
  made,	
  inspired	
  by	
  process	
  and	
  
previously	
  made	
  work	
  (the	
  end	
  as	
  beginning).	
  
	
  

Looking	
   to	
   the	
   monotype	
   process	
   as	
   subject	
   has	
   brought	
   about	
  
fortuitous	
  outcomes.	
  Such	
  is	
  the	
  case	
  in	
  21	
  Unearthed	
  States	
  (Fig	
  12),	
  a	
  
series	
   of	
   works	
   that	
   compositionally	
   derive	
   from	
   the	
   residual	
   traces	
  
innate	
   to	
   the	
   process	
   of	
   monotype.	
   Over	
   a	
   month	
   long	
   period,	
   I	
  
intentionally	
  set	
  out	
  to	
  suspend	
  the	
  rhythmic	
  and	
  necessary	
  gestures	
  of	
  
an	
  essential	
  task:	
  cleaning	
  up.	
  The	
  documentation	
  produced,	
  21	
  unique	
  
prints,	
   representative	
   of	
   21	
   days	
   in	
   the	
   studio.	
   Through	
   the	
  
development	
   of	
   a	
   method	
   that	
   implements	
   solvents	
   as	
   a	
   mask,	
   I	
  
captured	
   the	
   traces	
   of	
   my	
   body’s	
   limitations.	
   A	
   24”	
   x	
   36”	
   matrix,	
  
measuring	
   just	
   beyond	
   my	
   arms	
   length	
   defined	
   the	
   parameters	
   of	
   the	
  

	
  

34	
  

series.	
   Using	
   a	
   shop	
   rag	
   saturated	
   with	
   solvents,	
   I	
   instinctively	
   repeated	
  
the	
   familiar	
   motion	
   of	
   cleaning	
   the	
   day’s	
   leftovers	
   from	
   the	
   matrix.	
  
Permeating	
  a	
  composition	
  not	
  visible	
  to	
  the	
  human	
  eye,	
  my	
  drying	
  time	
  
for	
   the	
   solvents	
   was	
   adjusted	
   and	
   governed	
   by	
   several	
   factors:	
   the	
  
temperature	
   of	
   the	
   studio,	
   the	
   saturation	
   level	
   of	
   the	
   rag	
   and	
   the	
  
thickness	
   of	
   pooling	
   solvents	
   all	
   accounted	
   for	
   the	
   amount	
   of	
   time	
  
before	
  my	
  next	
  move.	
  	
  	
  

	
  
	
  

Figure	
  12:	
  21	
  Unearthed	
  States,	
  Monotype	
  on	
  
Stonehenge	
  paper,	
  92”x160”	
  2019	
  
	
  

	
  
Using	
  a	
  large	
  roller,	
  the	
  day’s	
  palette	
  of	
  used	
  ink	
  was	
  applied	
  on	
  to	
  the	
  
semi-­‐evaporated	
  plate	
  with	
  a	
  single	
  pass.	
  Similar	
  to	
  a	
  silver	
  gelatin	
  print	
  
developing	
   in	
   a	
   chemical	
   bath:	
   scratches,	
   monochromatic	
   ink,	
   and	
  

	
  

35	
  

residual	
   textures	
   gradually	
   shaped	
   the	
   perimeter	
   of	
   my	
   physical	
   trace.	
  
An	
   outline	
   emerges,	
   seen	
   for	
   the	
   first	
   time	
   only	
   to	
   be	
   concealed	
   once	
  
more	
  by	
  the	
  contact	
  of	
  paper	
  and	
  is	
  carried	
  forth	
  under	
  the	
  press.	
  
	
  
The	
  essential	
  task	
  of	
  cleaning	
  up	
  signals	
  the	
  end	
  of	
  a	
  prosperous	
  or	
  not	
  
so	
   prosperous	
   day	
   in	
   the	
   studio	
   and	
   allows	
   that	
   start	
   of	
   another.	
   I	
  
welcome	
  the	
  work,	
  knowing	
  it	
  will	
  enable	
  future	
  editions.	
  It	
  is	
  through	
  
this	
   process	
   that	
   I	
   call	
   to	
   a	
   logic	
   that	
   mirrors	
   my	
   movements	
   in	
   the	
  
outside	
  world-­‐	
  finding	
  solace	
  in	
  everyday	
  actions	
  while	
  going	
  about	
  the	
  
necessary	
   tasks	
   of	
   life.	
   With	
   that	
   logic	
   in	
   mind,	
   several	
   ideas	
   and	
  
concerns	
   surround	
   the	
   future	
   editions	
   to	
   come.	
   Aesthetic	
   decisions	
  
involving	
  display	
  and	
  formal	
  qualities	
  can	
  always	
  be	
  pushed	
  further	
  and	
  
at	
   what	
   point	
   can	
   the	
   restrictions	
   of	
   the	
   rectangular	
   print	
   dissolve?	
   If	
  
the	
  viewing	
  process	
  can	
  be	
  slowed	
  down,	
  what	
  is	
  (actually)	
  gained	
  from	
  
achieving	
   this?	
   And	
   how	
   can	
   audiences	
   further	
   engage	
   in	
   careful	
  
contemplation	
  with	
  the	
  work?	
  
	
  
In	
   October	
   2011,	
   The	
   Kunstmuseum	
   Wolfsberg	
   (Germany)	
   opened	
   an	
  
exhibition	
   titled:	
   The	
   Art	
   of	
   Deceleration,	
   Motion	
   and	
   Rest	
   in	
   Art.	
   	
   The	
  
core	
  of	
  the	
  exhibition	
  credits	
  modern	
  art	
  with	
  the	
  conscious	
  capacity	
  of	
  
reflecting	
  on	
  the	
  dialectic	
  of	
  motion	
  and	
  rest.19	
  Through	
  slowing	
  down,	
  
an	
  understanding	
  is	
  gained.	
  Not	
  just	
  of	
  the	
  material	
  aspects,	
  but	
  also	
  of	
  
the	
  high-­‐speed	
  world	
  we	
  inhabit.	
  	
  	
  
	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  	
  

19	
  Didactic	
  panel	
  from	
  the	
  exhibition:	
  “Today,	
  in	
  the	
  age	
  of	
  globalization,	
  turbo	
  capitalism	
  and	
  the	
  
Internet	
  which	
  accelerate	
  our	
  sense	
  of	
  time	
  pressures,	
  fragmentation	
  and	
  burnout,	
  not	
  only	
  is	
  the	
  
yearning	
  for	
  deceleration—for	
  relaxation	
  techniques,	
  slow	
  food	
  or	
  slow	
  communications—growing	
  
but	
  also	
  the	
  insight	
  that	
  process	
  has	
  to	
  be	
  decoupled	
  from	
  the	
  link	
  to	
  acceleration:	
  In	
  order	
  to	
  move	
  
forward	
  we	
  must	
  decelerate!”	
  (Hartmut)	
  

	
  
	
  

36	
  

	
  
Up	
   to	
   this	
   point,	
   I	
   have	
   identified	
   key	
   traits	
   of	
   the	
   unique	
   print	
   that	
  
embody	
   photographic,	
   sculptural,	
   painterly,	
   and	
   adaptive	
   properties,	
  
setting	
   it	
   apart	
   from	
   other	
   means	
   of	
   recording.	
   I	
   also	
   stress	
   that	
   the	
   rise	
  
of	
   competing	
   technologies	
   has	
   increased	
   the	
   value	
   of	
   the	
   hand	
   pulled	
  
print.	
   Photographer	
   and	
   author,	
   Alexis	
   Gerard	
   describes	
   film	
   as	
   once	
  
being	
   the	
   uncontested	
   medium	
   for	
   recording	
   images.	
   He	
   claims	
   that	
  
digital	
   technology	
   has	
   now	
   largely	
   relegated	
   film	
   to	
   one	
   time	
   use	
  
cameras	
   and	
   bridges	
   that	
   comparison	
   to	
   the	
   physical	
   print,	
   writing,	
  
“Physical	
  displays	
  where	
  the	
  image	
  is	
  not	
  separable	
  from	
  its	
  support	
  are	
  
in	
  effect	
  becoming	
  one	
  time	
  use	
  displays…	
  Far	
  from	
  becoming	
  obsolete	
  
as	
   a	
   result	
   of	
   these	
   trends,	
   physical	
   printing	
   is	
   taking	
   on	
   a	
   whole	
   new	
  
dimension	
  of	
  value	
  that	
  is	
  based	
  precisely,	
  on	
  its	
  physical,	
  tangible,	
  non-­‐
virtual	
   nature.”	
   (Pierce	
   Lhotka	
   9)	
   The	
   physicality	
   that	
   defines	
   the	
  
unique	
  proof	
  and	
  of	
  which	
  Gerard	
  speaks	
  to	
  is	
  meant	
  to	
  be	
  experienced	
  
first	
   person.	
   Though	
   the	
   image	
   can	
   be	
   disseminated	
   through	
   infinite	
  
methods	
   (this	
   document),	
   the	
   sensorial	
   qualities	
   that	
   prolong	
  
observation	
   described	
   in	
   this	
   thesis	
   are	
   intended	
   for	
   physical,	
   in	
   person	
  
viewing.	
  	
  
	
  
	
  The	
   medium	
   of	
   print	
   holds	
   a	
   long-­‐standing	
   history	
   embedded	
   in	
  
political,	
   personal,	
   and	
   production	
   purposes.	
   To	
   make	
   a	
   (analog)	
   print	
  
today	
   is	
   an	
   intentional	
   choice,	
   labor	
   and	
   deconstruction,	
   involving	
  
chance	
  and	
  a	
  sentiment	
  for	
  the	
  palpable.	
  Staying	
  within	
  the	
  parameters	
  
of	
  printmaking,	
  has	
  allowed	
  the	
  content	
  of	
  my	
  work	
  to	
  evolve	
  freely,	
  as	
  
direct	
   response	
   to	
   the	
   position	
   I	
   hold.	
   Building	
   off	
   mistakes	
   is	
   an	
  

	
  

37	
  

essential	
   part	
   of	
   my	
   methodology;	
   making	
   a	
   mistake,	
   reverse	
  
engineering	
  it,	
  and	
  trusting	
  on	
  instinct	
  to	
  let	
  it	
  happen	
  again.	
  	
  
	
  
The	
   procedural	
   nature	
   of	
   printmaking	
   folds	
   over	
   and	
   onto	
   itself	
   when	
  
process	
   becomes	
   content.	
   (Fig	
   13)	
   I	
   apply	
   the	
   familiar	
   step-­‐by-­‐step	
  
approach	
   taken	
   in	
   the	
   studio	
   to	
   my	
   perception	
   and	
   consequential	
  
interactions	
   I	
   have	
   to	
   the	
   outside	
   world.	
   My	
   art	
   making	
   takes	
   place	
  
throughout	
  the	
  entire	
  day:	
  from	
  looking,	
  collecting,	
  printing,	
  and	
  in	
  the	
  
eventual	
   contemplation	
   of	
   pressed	
   matter.	
   The	
   ebbs	
   and	
   flows	
   are	
  
maintained	
   through	
   viewing,	
   assessing,	
   and	
   deconstructing.	
   The	
  
exhaustion	
  of	
  one	
  object	
  and	
  the	
  excitement	
  of	
  potential	
  new	
  gestures	
  it	
  
produces,	
  inspires	
  the	
  next.	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

Figure	
  13:	
  Two-­‐Fold,	
  Monotype,	
  27”x34”	
  2020	
  

	
  
	
  
	
  

38	
  

Governed	
   by	
   a	
   need	
   for	
   immediacy	
   and	
   instant	
   satisfaction,	
   modern	
  
expectations	
   of	
   daily	
   life	
   can	
   bear	
   an	
   immense	
   weight.	
   I	
   attempt	
   to	
  
intervene	
   these	
   assumptions	
   through	
   a	
   greater	
   and	
   more	
   tactile	
  
connection	
   to	
   the	
   material	
   that	
   surrounds	
   me.	
   Slowed	
   and	
   deliberate	
  
modes	
  of	
  transit	
  propel	
  my	
  search	
  for	
  something	
  unique.	
  As	
  a	
  result,	
  the	
  
hard	
   drawn	
   lines	
   between	
   awareness,	
   physicality	
   and	
   art	
   making	
   have	
  
since	
  been	
  erased.	
  	
  
	
  
Recently	
   I	
   have	
   been	
   fascinated	
   with	
   the	
   notion	
   of	
   congestion,	
   and	
   the	
  
present-­‐day	
   advancements	
   in	
   transportation	
   that	
   have	
   presented	
   an	
  
unintended	
   reversal	
   of	
   their	
   original	
   role.	
   In	
   this	
   interruption	
   there	
   is	
  
room	
   for	
   contemplation:	
   A	
   rest.	
   My	
   intention	
   is	
   that	
   the	
   interactions	
  
between	
  the	
  unique	
  print,	
  time	
  and	
  the	
  viewer	
  can	
  echo	
  the	
  process	
  of	
  
their	
   creation.	
   	
   From	
   drawing	
   (collecting)	
   to	
   printing,	
   to	
   viewing	
   the	
  
final	
   print,	
   moments	
   arise	
   where	
   time	
   becomes	
   immeasurable:	
   a	
  
limitlessness	
  that	
  will	
  nourish	
  the	
  future	
  editions	
  to	
  come.	
  	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

	
  

39	
  

Mirroring	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  
	
  

mir·roring:	
  the	
  reversal	
  of	
  the	
  matrix	
  when	
  printed	
  or	
  
unconsciously	
  imitating	
  something	
  without	
  knowing.	
  
	
  

	
  
	
  
	
  

The	
   reflective	
   nature	
   of	
   the	
   print	
   to	
   matrix	
   relationship	
  

organically	
   shapes	
   a	
   reflection	
   of	
   my	
   process	
   at	
   large:	
   a	
   reversal	
   that	
  
reveals	
   an	
   accumulation	
   of	
   decisions	
   and	
   actions,	
   viewed	
   upended	
   for	
  
the	
   first	
   time.	
   This	
   new	
   way	
   of	
   looking	
   at	
   familiar	
   or	
   seemingly	
   ‘regular’	
  
things	
  has	
  become	
  an	
  apt	
  comparison	
  to	
  the	
  ways	
  in	
  which	
  I	
  make	
  and	
  
understand.	
   The	
   process	
   of	
   mirroring	
   grants	
   further	
   inquisition	
   into	
   the	
  
approaches	
   I	
   formerly	
   held	
   to	
   research,	
   method	
   and	
   creation.	
   By	
  
allowing	
  my	
  process	
  and	
  the	
  emanating	
  physical	
  objects	
  to	
  look	
  back	
  at	
  
themselves,	
  the	
  limits	
  of	
  western	
  knowledge	
  I’d	
  inherently	
  implemented	
  
come	
   to	
   light.	
   Through	
   a	
   willingness	
   to	
   challenge	
   conventions	
   I	
  
previously	
   thought	
   absolute	
   of	
   printmaking,	
   I’ve	
   personally	
   redefined	
  
what	
  a	
  print	
  can	
  be	
  and	
  am	
  working	
  towards	
  broadening	
  that	
   definition	
  
even	
  further.	
  
	
  

	
  

40	
  

	
  In	
  my	
  thesis	
  defense,	
  I	
  stated	
  that	
  pursing	
  my	
  mater’s	
  degree	
  has	
  been	
  a	
  
formative	
  first	
  step	
  in	
  starting	
  to	
  understand	
  what	
  it	
  means	
  to	
  become	
  
educated.	
  The	
  deep-­‐seated	
  awareness	
  I	
  adhere	
  to	
  every	
  action	
  I	
  take,	
  my	
  
openness	
   to	
   collaboration	
   and	
   by	
   acknowledging	
   my	
   position,	
   I	
   have	
  
experienced	
  revelatory	
  developments	
  as	
  an	
  artist	
  and	
  being.	
  	
  
	
  

	
  

Figure	
  14:	
  Trial	
  trails,	
  Monotype,	
  22”x22”	
  each,	
  2020	
  	
  

	
  
Leading	
  up	
  to	
  and	
  as	
  shared	
  in	
  my	
  defense,	
  I	
  began	
  working	
  on	
  a	
  series	
  
of	
   prints	
   made	
   outside	
   and	
   not	
   dependent	
   on	
   the	
   mechanical	
   printing	
  
press.	
  Inspired	
  by	
  an	
  alterative	
  appropriation	
  of	
  the	
  built	
  environment	
  
and	
   its	
   forms,	
   these	
   latest	
   prints	
   (Fig	
   14)	
   are	
   indicative	
   of	
   a	
   new	
  
direction.	
   These	
   impressions	
   embody	
   the	
   key	
   characteristics	
   I	
   employ	
  
while	
   making	
   and	
   help	
   to	
   fold	
   the	
   procedural	
   nature	
   of	
   printmaking	
  
together.	
   Matrix,	
   registration,	
   pressure,	
   chance,	
   and	
   edition	
   fall	
   onto	
   a	
  
single	
  surface:	
  a	
  mirroring	
  of	
  sorts.	
  	
  

	
  

41	
  

Similar	
   to	
   my	
   methodology,	
   the	
   marks	
   are	
   both	
   representative	
   of	
  
successes	
   and	
   failures.	
   Experimenting,	
   failing	
   and	
   finding	
   a	
   way	
   to	
  
replicate	
  those	
  missteps	
  has	
  become	
  conditional	
  for	
  creation.	
  The	
  lines,	
  
created	
  rhythmically	
  by	
  gestural	
  tracings	
  are	
  formed	
  though	
  a	
  repeated	
  
exercise.	
   These	
   invisible	
   gestures	
   of	
   immediate	
   actions	
   are	
   made	
  
possible	
  by	
  pressure	
  and	
  the	
  transfer	
  of	
  matter.	
  I	
  cannot	
  take	
  credit	
  for	
  
the	
  entire	
  composition;	
  the	
  prints	
  are	
  made	
  in	
  collaboration	
  with	
  others	
  
and	
  are	
  part	
  of	
  an	
  open	
  edition.	
  Open	
  to	
  future	
  marks	
  and	
  variations,	
  the	
  
dimensions,	
   hues,	
   and	
   composition	
   are	
   not	
   fixed.	
   Previous	
   layers	
   of	
  
matter	
   are	
   concealed,	
   covering	
   a	
   well-­‐worn	
   path	
   and	
   with	
   every	
   pass,	
  
their	
   material	
   make	
   up	
   is	
   chipped	
   away.	
   Chance	
   propels	
   the	
   work	
  
forward	
   and	
   the	
   hidden	
   impressions	
   underneath	
   the	
   rollers	
   are	
   only	
  
revealed	
  when	
  lifted.	
  They	
  rest	
  until	
  the	
  next	
  pass.	
  	
  
	
  
The	
   lines	
   are	
   actualized	
   by	
   the	
   transfer	
   of	
   pavement	
   onto	
   urethane	
  
wheels	
   and	
   once	
   again	
   transferred	
   vertically	
   with	
   the	
   pressure	
   of	
  
human	
   bodies.	
   The	
   force	
   of	
   gravity	
   slides	
   downward	
   directly	
   on	
   the	
  
paper,	
  firmly	
  capturing	
  the	
  trials	
  and	
  trails	
  of	
  a	
  skateboard	
  trick	
  known	
  
as	
  a	
  “wall	
  ride”.	
  
	
  
The	
   slower	
   ways	
   I	
   navigate	
   the	
   environment,	
   using	
   the	
   very	
   vehicle	
   I	
  
later	
   use	
   for	
   expression	
   (I.E.	
   the	
   skateboard/myself)	
   are	
   the	
   preferred	
  
tools	
   I	
   apply	
   to	
   create	
   unique	
   impressions.	
   Today,	
   I	
   approach	
   every	
  
matter	
  and	
  encounter	
  with	
  the	
  same	
  pressing	
  question:	
  could	
  this	
  be	
  a	
  
print?	
  
	
  

	
  

42	
  

Works	
  Cited	
  
	
  
	
  
Coldwell,	
  Paul.	
  “Hybrid	
  Practices	
  within	
  Printmaking.”	
  Journal	
  of	
  Visual	
  Art	
  Practice,	
  vol.	
  14,	
  no.	
  3,	
  Sept.	
  
2015,	
  pp.	
  175–78,	
  doi:10.1080/14702029.2015.1094241.	
  
	
  
Esposito	
  Hayter,	
  Carla.	
  The	
  Monotype:	
  The	
  History	
  of	
  Pictorial	
  Art.	
  Skira	
  Editore	
  S.p.A.,	
  2007	
  
	
  
Field,	
  Richard.	
  “Print	
  News.”	
  World	
  Print	
  Council,	
  vol.	
  Volue	
  1,	
  no.	
  Issue	
  1,	
  Mar.	
  1978,	
  pp.	
  2–15.	
  
	
  
Gallagher,	
  Ellen.	
  Preserve.	
  Des	
  Moines	
  Art	
  Center,	
  2001.	
  
	
  
Hartmut,	
  Rosa	
  and	
  Böhme.	
  The	
  Art	
  of	
  Deceleration:	
  Motion	
  and	
  Rest	
  in	
  Modern	
  Art	
  from	
  Caspar	
  David	
  
Friedrich	
  to	
  Ai	
  Weiwe.	
  Hatje	
  Cantz,	
  2012.	
  
	
  
INTERNATIONAL	
  PRINT	
  CENTER	
  NEW	
  YORK.	
  PAST	
  EXHIBITIONS.	
  https://www.ipcny.org/past-­‐
exhibitions.	
  
	
  
Museum	
  of	
  Modern	
  Art.	
  MoMA	
  PRESENTS	
  ITS	
  FIRST	
  EXHIBITION	
  OF	
  RECENTLY	
  ACQUIRED	
  TWENTY-­‐FIRST-­‐
CENTURY	
  PRINTS	
  AND	
  ILLUSTRATED	
  BOOKS.	
  2	
  May	
  2006,	
  
https://www.moma.org/documents/moma_press-­‐release_387106.pdf.	
  
	
  
Pellegrini,	
  Aldo.	
  “Foundation	
  for	
  an	
  Aesthetic	
  of	
  Destruction//1961.”	
  Destruction,	
  Whitechapel	
  Gallery	
  and	
  
MIT	
  Press,	
  2017,	
  pp.	
  72–74.	
  
	
  
Pelzer-­‐Montada,	
  Ruth.	
  “Deceleration	
  Through	
  the	
  Imprint:	
  Photo/Graphic	
  Interactions	
  in	
  Contemporary	
  
Art.”	
  Photographies,	
  vol.	
  11,	
  no.	
  1,	
  Jan.	
  2018,	
  pp.	
  3–30,	
  doi:10.1080/17540763.2017.1399290.	
  
	
  
Pelzer-­‐Montada,	
  Ruth.	
  Perspectives	
  on	
  Contemporary	
  Printmaking,	
  Critical	
  Writing	
  since	
  1986.	
  First,	
  
Manchester	
  University	
  Press,	
  2018.	
  
	
  
Pierce	
  Lhotka,	
  Bonny.	
  Digital	
  Alchemy:	
  Printmaking	
  Techniques	
  for	
  Fine	
  Art,	
  Photography,	
  and	
  Mixed	
  Media.	
  
New	
  Riders,	
  2011.	
  
	
  
	
  
Suzuki,	
  Sarah.	
  “Print	
  People:	
  A	
  Brief	
  Taxonomy	
  of	
  -­‐Contemporary	
  Printmaking.”	
  Art	
  Journal,	
  vol.	
  Vol.	
  70	
  	
  
Issue	
  4,	
  no.	
  Winter	
  2011,	
  pp.	
  p6-­‐25.	
  
	
  
Tallman,	
  Susan.	
  THe	
  Contemporary	
  Print	
  from	
  Pre-­‐Pop	
  to	
  Postmodern.	
  Thames	
  and	
  Hudson,	
  1996.	
  
	
  
Taylor,	
  Michael.	
  The	
  Mechanical	
  Hand,	
  Artists’	
  Projects	
  at	
  Paupers	
  Press.	
  Black	
  Dog	
  Publishing,	
  2012.	
  
	
  
Tillmans,	
  Wolfgang.	
  Abstract	
  Pictures.	
  Hatje	
  Cantz,	
  2011.	
  
	
  
University	
  of	
  California,	
  Berkeley.	
  Indigenous	
  Peoples	
  of	
  California:	
  Related	
  Resources	
  at	
  The	
  Bancroft	
  
Library.	
  https://guides.lib.berkeley.edu/IndigenousCABancroft.	
  
	
  
	
  
	
  
	
  
	
  

	
  

	
  

43	
  

Works	
  Consulted	
  	
  
	
  
Bennett,	
  Jane.	
  The	
  Force	
  of	
  Things:	
  Steps	
  toward	
  an	
  Ecology	
  of	
  Matter.	
  Sage	
  Publications,	
  Inc.,	
  2004,	
  
http://www.jstor.org/stable/4148158	
  .	
  
	
  
Brown,	
  Bill.	
  “Thing	
  Theroy.”	
  Critical	
  Inquiry,	
  vol.	
  Vol.	
  28,	
  no.	
  No.	
  1,	
  2001,	
  p.	
  4.	
  
	
  
Brown,	
  Kathan.	
  John	
  Cage	
  -­‐	
  Visual	
  Art:	
  To	
  SOBER	
  and	
  QUIET	
  the	
  MIND.	
  Crown	
  Point	
  Press,	
  2000.	
  
	
  
Byrne,	
  David.	
  Bicycle	
  Diaries.	
  Penguin	
  Books,	
  2010.	
  
	
  
Castleman,	
  Riva.	
  Printed	
  Art	
  -­‐	
  A	
  View	
  of	
  Two	
  Decades.	
  The	
  Museum	
  of	
  Modern	
  Art,	
  1980.	
  
	
  
Coldwell,	
  Paul.	
  Printmaking	
  A	
  Contemporary	
  Perspective.	
  Black	
  Dog	
  Publishing,	
  2010.	
  
	
  
Cronon,	
  William.	
  The	
  Trouble	
  with	
  Wilderness;	
  or	
  Getting	
  Back	
  to	
  the	
  Wrong	
  Nature.	
  1995,	
  
https://www.williamcronon.net/writing/Cronon_Trouble_with_Wilderness_1995.pdf.	
  
	
  
Davis,	
  Bruce,	
  and	
  Jean	
  Milant.	
  Made	
  in	
  L.A.:	
  The	
  Prints	
  of	
  Cirrus	
  Editions.	
  Los	
  Angeles	
  County	
  Museum	
  of	
  Art,	
  
1995.	
  
	
  
Friedman,	
  Martin.	
  Tyler	
  Graphics:	
  The	
  Extended	
  Image.	
  Abbeville	
  Press	
  Publishers,	
  1987.	
  
	
  
Gilmour,	
  Pat.	
  The	
  Mechanised	
  Image.	
  Arts	
  Council	
  of	
  Great	
  Britain,	
  1978.	
  
	
  
Orenstein,	
  Nadine.	
  Rembrandt	
  van	
  Rijn	
  (1606–1669):	
  Prints.	
  The	
  Metropolitan	
  Museum	
  of	
  Art,	
  Oct.	
  2004,	
  
https://www.metmuseum.org/toah/hd/rembp/hd_rembp.htm.	
  
	
  
Solnit,	
  Rebecca.	
  A	
  Field	
  Guide	
  to	
  Getting	
  Lost.	
  2006.	
  
	
  
Thompson,	
  Michael.	
  “Time’s	
  Square:	
  Deriving	
  Cultural	
  Theory	
  from	
  Rubbish	
  Theory.”	
  Innovation,	
  vol.	
  Vol.	
  
16,	
  no.	
  No.	
  4,	
  2003,	
  p.	
  322.	
  
	
  
W.	
  Haxthausen,	
  Charles.	
  The	
  Well-­‐Tempered	
  Grid.	
  Williams	
  College	
  Museum	
  of	
  Art,	
  2012.	
  
	
  

	
  

44