Recently I began printing directly from the original brushstrokes I painted because at some point I saw a negative I had made and thought that it would look good as a final image. The added bonus of printing these works directly as silver-gelatine enlargements is that it goes a long way to helping solve the problem of delayed feedback that I have when working with the carbon transfer process.
I had originally imagined this series as being made through one process, but as I progress I see the benefits to allowing that aspect of the work to remain open-ended, which is in fact in keeping with the idea that the images are meant to change over time.
Seeing the same information presented in different ways is something I find intriguing as I think it allows us to better understand both the subject and the process, as if each process or style is a perspective that is only truly understood once we have stepped out of it and into a new one.
576 Marks – 50x60cm Silver Gelatine Print – 2020.
Each mark on the original occupies a 5mm square
576 Marks – 50x60cm Silver Gelatine Print – 2020.
Each mark on the original occupies a 5mm square
