Aquatint, softground and line etching on paper.
Most of these etchings are based on images captured through still and video footage of actual events, where I and others were present in front of the camera, exploring movement and interactivity facilitated by my wearable objects. As still images are sourced from moving footage, a digestion begins through digital and analog screens. Through the process of printmaking, the original image becomes distorted, a scrambled signal of habits and routines. Structure and pattern is examined, enhanced and revised in reproduction. The digital camera and video editing software are literal and metaphorical “teeth,” capturing and breaking up larger chunks of time into immediate moments. Subsequent reprinting of the digital in the traditional etching medium solidifies the ephemeral moment into a relic of the past. These print techniques provide material for future settings and enactments, perpetuating the process of production and reproduction.