As a trained engineer and printmaker, I aim to create artwork that harmonizes computational and traditional image-making techniques as a means to explore our individual and societal relationship with technology.

 

My current body of work leverages digital samples of the natural world- photographs or sound recordings- as starting points for print compositions. With photographs, I focus on just a few pixels within an image, feeding them through a software pipeline I’ve built to mimic the mechanism of traditional aquatint to produce gray tones using only black dots. I then send the coordinates of each resulting dot to a plotter machine that creates an image directly on paper, or makes marks on a coated etching plate or serigraph positive. When working with audio, I sample coordinates within the recording’s spectrogram and translate hand-drawn marks to those locations in order to form the basis of a visual pattern.

 

In the current conversation surrounding the humane bounding of technology usage, it can be difficult to find a middle ground that neither wholly rejects nor embraces it. This body of work aims to honor quick, instinctual photos and recordings, and the universal desire to preserve something swiftly passing.

 

“Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place”