I am a printmaker and collage artist specializing in relief prints and cut paper collage.
My latest series, Opposition-Defiant-Disorder, is an artistic response to a tumultuous era marked by political extremism and the resurgence of atavistic nationalisms as a force throughout the world.
Like my recent storefront art installations, this new body of work is part of a larger project dedicated to the democratic production and distribution of art. Traditional gallery spaces are a jumping off point for a variety of grassroots media shown and distributed in public spaces. Images taken from my original collage art and woodcuts are repurposed and recirculated in the form of posters, t-shirts (wearable, reproducible art), and zines.
Even when my artwork isn’t overtly political in its content, it is political in its process.
Inspired by Cold War-era ad campaigns, my collage art uses cultural detritus of the fading “American Century” to critique contemporary consumer culture. Wielding scissors in lieu of a paintbrush, new hybridized images are built up from cut-paper fragments, freely sampling and remixing old advertisements.
My interest in “analog” collage grew from my experience making zines. Originally produced as photocopy art, the cut-and-paste aesthetic of zines was a direct result of artists laying out the pages by hand: a combination of line art, found art, tape, and glue sticks.
My relief prints mirror my collage work: cutting away excess material to reveal new shapes.
Printmaking has always been a democratic medium. As a printmaker, the ability to generate multiple copies of an image is at the root of my artistic practice.
I’m less interested in the concept of “limited editions” than the idea of printmaking as an affordable form of art.
This is also the reason why I do not number – or edition – my prints.