I am interested in using photographic technology’s ability to highlight specific aspects of a subject or process. As Chris McCaw explores photography’s capacity to act as a viewable index of action, I am using photographic technologies to explore and focus on human caused technological errors. My work aims to make those translational failures visible through interventions.
My process of using paint, the photographic print, and the residue of my studio practice as subject matter is to be viewed as an exploration into the aforementioned translational failures as well as an attempt at exploring the inherent qualities of both analog and digital representation. I view these terms as synonyms for physical and incorporeal.
The painting in my work is an expression of the analog or corporeal process. My hand pushing and pulling paint across canvas or monoprint plates, creating peaks and valleys not dissimilar from the peaks and valleys in the groove of a record. The scanner, a digital process/technology, then captures these gestures and translates them into code for translation again within the computer, only to be recreated and retranslated in order to be manifested physically with liquid color via an inkjet printer. In some instances the intervened scan is the final image in other cases I make a print, cut it up and reassemble it, a sort of physical decoding similar to a computer’s, however without concrete algorithms this time.
Through these explorations of translation and representation, I hope that the viewer draws a parallel between the technological breakdowns in my work and understands that failure (in its many forms) is how discoveries are made. Without failure, progress would be unattainable. Conversions or translations happen around us and to us constantly, generally without our knowledge. My aim is to draw attention to this.