This is a linocut that has been repeatedly printed in the three process colors (without black), cyan(blue), magenta(red) and yellow. It was an excercise in using transparent colors and overprinting, generating various combinations by rotating the printing matrix.
Two experiences of the past year have changed the direction of my work:
-looking intently at the fundamentals of form language while formulating a rationale for my summer design course
-examining and implementing various pattern concepts while pursuing wallpaper ideas
These factors helped lead me to my current project: the development of a framework through which I could insert in an intentional way various ideas that pertaining to process and concept that have emerged in my studies at SFSU.
These include:
-folding in of non-art sources (popular culture, the built environment, technology) in a more oblique way than through pictorial representation
-use of systems to arrive at a finished work that is contingent upon its materials and site
(thinking of Sol Lewitt)
-work that conflates visual harmony and balance with a workman like sense of economy
-a formalism that is graphic and irrational and ambiguously referential
-a process of image acquisition that is varied (automatism, chance operations, appropriation and alteration)
(below) This is a mock-up of a gallery installation. The finished piece in my conception should uccupy the gallery in tha manner of posters of wheatpastes. The medium: screenprint on newsprint. The forms are mutated texts taken from junk mailers. The stencil is paper. the piece should feel emphaticaly ephemeral. The economy of the gesture, posting paper on the wall should be palpable.
