In the Distance

24x42cm, pigment on watercolor paper, …

In the Distance
concentration

24x42cm, pigment on watercolor paper, …

concentration
Gradient

30x40cm, pigment on watercolor paper, …

Gradient
Towering

40x30cm, pigment on watercolor paper, …

Towering
Red and Silver

24x42cm, pigment on watercolor paper, …

Red and Silver
Composition with Brown, Green and Yellow

24x42cm, pigment on watercolor paper, …

Composition with Brown, Green and Yellow
taking flight

24x42cm, pigment on watercolor paper, …

taking flight
rustling

24x42cm, pigment on watercolor paper, …

rustling
creepy crawly

42x35cm, pigment on watercolor paper, …

creepy crawly
Pendulum

30x40cm, pigment on watercolor paper, …

Pendulum
W.O.L.

35x42cm, pigment on watercolor paper, …

W.O.L.
slinky

42x24cm, pigment on watercolor paper, …

slinky
Proximity

30x40cm, pigment on watercolor paper, …

Proximity
strongarm

42x26cm, pigment on watercolor paper, …

strongarm
yellow cluster

30x40cm, pigment on watercolor paper, …

yellow cluster
flight path

42x35cm, pigment on watercolor paper, …

flight path
swerve

24x42cm, pigment on watercolor paper, …

swerve
still flower

35x42cm, pigment on watercolor paper, …

still flower

Printing Time

Printing Time is a suite of 18 performative prints, each an edition of 5. It was produced for a solo exhibition of the same name at Art at Wharepuke in New Zealand, run by Mark Graver – author of Non-toxic Printmaking. In this ongoing series, I strap a desktop scanner, laptop and custom-made battery pack to my body, and perform images into existence. I might scan in straight, long lines across tables, tie the scanner around my neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond. The dynamism of my relationship to the landscape is transformed into beautiful and quirky renderings, which are re-stretched and colored on my laptop, then produced as archival art objects. This series follows the trajectory of Impressionist painting, through Surrealism to Postmodernism, but rather than citing crises of representation, reality or simulation, my focus is on performing all three in relation to each other.