I tend to work in series, in multiples. As with the ongoing Dante Project, I also work with developing processes, producing both art and a record or archive of a developing skill. Language, visual language. Motion. The work in drawing and in audio exists in liminal spaces, in the thin boundaries between drawing and investigation, the thin boundaries between language systems.
The fingerprint images function both as traditional drawings, and as markers of motion; fingerprints stand in for individuality, for identity. The idea that only one person could have made these prints is both useful and reductive. It’s also false. Fingerprints must be interpreted into meaning, and are assigned identity based on what are called points of comparison. These points of comparison are subjective, debatable, and always moving.
So too, these images. I think they work best when they suggest motion, something that has already happened but is still happening. When they suggest, rather than describe. To apprehend a subject is to catch a person, to stop that person from performing an action by taking them into your custody. To apprehend an idea or an image is to understand it, to stop it from shifting in your perception, to catch it through naming and describing, by constructing a narrative. Yes, this. And then this. And then this.
Palm, partial (detail)
i continue fascinated with the process of fingerprinting; pulling information out of invisibility with powdered pigment, brush, and tape. the way that fingerprints function as evidence, as a means of constructing narrative. the unidentified subject touched this. here. and here. the ways in which the information is partial, incomplete, the ways in which fingerprints stand in for identity.
all images: powdered graphite and tape on paper, 2017
These images are part of the work I’m doing for my MFA. I’m using the tools of forensic investigators (powdered pigment and brushes) to first create drawings using my fingerprints, then pull the images up via the fingerprint dusting method. These drawings reference unsolved disappearances of women in the United States; each one is based on an actual case file.
Update: These images will be part of “Deadly Intentions” at Studio 659, from 9/24/17 through 11/11/17.
On October 31, 1589, Peter Stubbe was executed by breaking on the wheel for the crime of Lycanthropy. According to a 1590 pamphlet published in London, Stubbe was guilty of cannibalism, murder, and the terrifying/delightful crime of ‘werewolfery.’
I’m thinking lately about chimerism, the thin barriers between the human/the animal, and the fine line of normativity that holds hunger at bay in the face of a barely-suppressed ferality.
Uptown Underground, 1.20.17
Graphite and ink on vellum, 2017
Ongoing series, 2015 to present. Graphite and charcoal on paper.
Unless noted, all are after master painters’ self portraits.
Brunelleschi, after Pampaloni
Caravaggio, after Leoni
Dante, after Botticelli