My work is the evolving inquiry of the series, Notations from Gridville, coined by author Vincent Quatroche. Gridville is a fictional place where the exploration of the passage of time and experience, the blurring of memory and recollection takes place.
The work is a synthesis of my attraction to process. Using hundreds of photographs taken over the years, I construct collages that are seamless and flat, merging straight photography, hand printmaking, and chance combinations.
I use a processing program called MAX, through which I have pieced together a series of modules. My source images are compiled into files, given numbers, and then randomly generated through the program. The images are a result of a random change operation, mediated through my participation. The images flow in and out of each other, creating intriguing juxtapositions. I am able to freeze a given progression by capturing or filming the sequence. These images become source material for further manipulation.
The captured images are then separated into Cyan, Magenta, Yellow, Key, (or black) layers and printed out as black and white Xerox printouts. Through the paper plate lithographic process I then print each layer by hand, using a method akin to traditional hand lithography. The inked plates are printed, and then hand colored, sealed and mounted on canvas.
The images become a synthesis of experience, a contemporary palimpsest of sorts. Through the process Images are buried and others revealed. They are fragments of experience and slices of time meshed into a pictorial whole.
I am an experienced printmaker, photographer, painter, and a novice Max user. Paul Cantanese, a hybrid media artist, introduced me to Max several years ago. Initially, my foray into MAX was frustrating, having little to no programming skills and my understanding of math is somewhat shaky, but never the less I plunged in. I have always been excited about image making and intrigued by the thought of creating an image generator, a system that captured, scrambled and output images the way I envisioned them. I then hand print the images using traditional printmaking processes.
My earliest light and sound experiences were 60's where I would attend dance concerts at the Fillmore and Avalon Ballrooms in San Francisco. The light shows expressed the moments in light, and I would stand transfixed watching intently, images accompanied by the sound, not the other way around.
I have been trying to express my particular vision ever since. Max has helped accomplish that. I continue to fumble my way through.
"In Gridville mind-numbing complex systems struggle to regulate and maintain order in a cyber-optic spider web where lust and greed are lynchpins for celebrity obsessed, creature comfort driven, image-conscious consumers." V. Quatroche, 2005
These new notations from Gridville are a series of images constructed and grabbed through an image generator, a sort of playground.
A fitting way to create images that are a synthesis of momentary notations; a compilation of photographs, drawings, and miscellany amassed over time, here in Gridville.
The Notations from Gridville series creates a very loose linkage to poems written by Vincent Quatroche. Gridville is that place we all inhabit from time to time where we are either passing through it and notice nothing or the nuance of every shadow, word and action are seen in crystal clarity. The pieces are derived from ink drawings based on body and engine schematics from parts manuals. Those drawings are scanned enlarged and hand-printed using the processes of Xerox transfer and paper-plate lithography.