IFM

Exhibition, April 2025

This body of work is informed by T.J. Clark’s book The Sight of Death, an exploration of sustained looking at a series of Poussin’s paintings.  Clark describes Poussin’s compositions as built “layer on layer, level on level.” These paintings and prints focus on Poussin’s painting Landscape with a Calm. Through repeated acts of looking, research, and the degradation of information, I want the work to shift, slough off, accumulate again, becoming discernible at a single glance.

For the series of lithographs, I created an image of an image of an image. This degree of distance made it difficult for the ink to know where to go, forcing it to lose its confines and become ink itself outside of image, taking on the characteristics of the tool and my action and producing a monoprint from lithography.

There is a tension in the intersection of analog and digital, object and ephemeral image. I wonder how these gestures of painting—these slow accumulations—can function in the digital world. The flattening, the compression of meaning that occurs, reminds me of past processes, of history’s layers. In my work, I play with indexing, absorbing, and compressing, but the real transformation happens in the tension between form and formlessness.

Through ink transfer, monotyping, body prints, and painting moves, I examine how materials resist or embrace form, oscillating between intention and spontaneity. I play with the tradition of symbols creating my own and freeing others. Time becomes less “clock” and more structure—a frame that holds the work. Tape, in its simplicity, becomes both boundary, a release and a subject. I am not painting a clock—I’m building one.

Please, get close.