“Spring Pause,” my university’s forty-eight hour variation on Spring Break, concluded tonight with the completion of two new art pieces.
These are large works that I would like to describe as screen print, dye, and charcoal rubbing on linen. The charcoal rubbing feels like an exciting discovery. I love the way it elevates the sense of depth and texture of the surfaces. And it extends a thread I’ve been thinking a lot about in my work, “the sensuous possibilities of imprintation.” Like the screen print, the rubbing is the mark of an imprint. Unlike the screen print, the rubbing is a direct impression of a tactile surface.* The interplay between these different but deeply connected elements feels like a brief glimpse into the infinite possibilities hidden within the art of imprintation.
For me this type of artmaking has always felt analogous to the structure of everything around us. People, places, objects: when you objectively examine the substructure of anything it doesn’t make much sense. It just doesn’t seem like it should all work. A leap of faith is always required to accept that every person one loves in the world is just a pile of atoms. The piles aren’t even that different! From a certain perspective that is an aggressively detached line of thinking. For me, the thought that unexpected elements can come together to generate unpredictable and beautiful patterns of complexity is elegant and magical.
Oh yeah, it’s a girl in a Panda costume.
*The charcoal rubbing is a direct impression of which material? My recently created lace surfaces.