Portfolio
Trajectory I (2021)
Ink on paper
19 3/4” x 26”
Part of a series in progress, Trajectory works on the ideas of the distraction of the chatter of the mind and the opening/flickering of a moment of being anchored and grounded. I am using a dot application of movement and a simple line drawing to parallel what I imagine it is like floating in a simplified star field yet finding rest through a opening to a simplified landscape, both vast but different in their perceptions.
Coast (2020)
Overbeaten abaca and cotton, jute
23” x 16”
Using a variety of paper fibers, this piece explores the idea of an organic porous boundary that serves as the division of two spaces. The pattern flattens but does not lose dimension, like sand, and the empty space is open and boundless, like water, but they are not cleanly separated.
Los demonios no saben lo que buscan (2021) [english: the demons do not know what they are looking for]
Plate lithography
13 1/2” x 19 1/2”
This piece explores momentary peacefulness of a quiet space and the chatter of thoughts closing in seeking acknowledgment.
Isolating (2021)
Plaster, sand, 5gsm paper and ink
L: 19” x 14”, R: 4.5” x 3.5”
Using plaster for its dimensional properties, I replicated a non-specific terrain by applying sand to the surface and letting it accumulate in parts of the incisions. The two pieces have similar approaches to applications however the left one has a veil of a very thin paper with roman numerals acting as notations to the incisions and flattening the shapes much like mapping flattens environments.
El inverso de sus formas (2020) [english: the inverse of their forms]
Handmade pigmented abaca/ragboard sheet with a blow-out repeat design attached to a plaster backing.
E/ piece is 11” x 14”
The pattern design came from an interpretation of the small rocky debris of various landscapes I encountered around the flat and arid Andean regions of Chile, Bolivia and Argentina. These vasts deserts and unique landscapes often repeat small pebbles until its a blur of color, with the focus points being the larger chunks, the rocks that sit among them all. In an exercise to visualize what it would be like to see from underneath the surface of a desert, the rock shapes have been inverted inwards into the piece rather than extruding out. A subtle grid in the repeated pattern is intended as a connection with maps and charting, and the white of the inverted rocks is to give a touch of the celestial, of the looking “up”, to a piece that has so many earthly properties.
An Invitation (2019)
Photopolymer letterpress
11 1/2” x 13”
This piece represents a landscape, with the rock-like objects surrounding a marked space meant to be for the viewer, an invitation into this space. A presence of some sort is implied from the space unfilled, as the only hint of a light source is the direction of the shadows cast by the rock-like objects.
( ) - (2018)
Abaca, intaglio
24” x 32” x 2”
Thinking of the parenthesis as a tool that, in writing or books, adds information that is important enough to print, but that it was, for whatever reason, omitted from the text body. The central hole on what is otherwise a flat surface on that side in between the parenthesis represents my ideas of a black hole. The back of the piece has a lump where the hole sinks on the flat side, as evidence of its presence, the vacancy between whatever the parenthesis contains. I think of this opening as something that is just not there, but meant to be there.
Inferential Drift (2019)
Tarlatan, LEDs, RTC, lenses, prints, pipes
5’ x 12’
This piece is connected to a real time clock with a programmed printed out schedule where lights on the inside illuminate certain peepholes at certain times revealing warped prints that are distorted by the peephole shape on the inside and lenses. It was scheduled throughout the time of the exhibition and the schedule was printed out so that the audience could take one home. The idea is that, even when not observed, much like celestial bodies in space, things are still moving and occurring. Thus, even when the show was closed for the night, the schedule still held true and certain peepholes were turning on and turning off. The times they were programmed to be lit were also long enough that a person engaging with the piece, unless they cared enough to see the schedule and come back, would only see some of the peepholes unless they planned to hang around for a while.
Inferential Drift (2019)
Peephole #1 Detail Shot
Inferential Drift (2019)
Peephole #3 Detail shot
Inferential Drift (2019)
Page 1 of 2, schedule print out. Detail shot.
Untitled (2018)
Handmade cotton paper
8 1/2” x 6 1/2”
This piece explores the ideas of paper as vessel, using asemic shapes through the watermark process of handmade paper to create both the writing and the sheet at the same time.
Script (2018) - l
Screenprint, inkwash
18” x 22”
The made-up text based in shapes is meant to be a representation of writing, something that can be recognized immediately as some sort of writing, but is quickly spotted as to not be an actual real-world script and thus, not immediately translatable. With this in mind, the script can be seen as what it is, writing, and emphasis can be given to the paper as its vessel. In writing the paper can easily be eclipsed by the interpretation of words, and I was looking to give the paper a stronger presence as it is what keeps what is on it together.
Script (2018) - ll
Screenprint, inkwash
e/ piece is 20” x 22”
Coming from the same ideas as Script l.
Preposition Suite (2018) - Grouping ll (part of suite of 15)
Intaglio
E/ print is 7” x 4 1/4”
This Grouping ll of a suite of 15 intaglio prints that were visual renditions of 15 prepositions. Prepositions are words used to describe the relationship between two objects and I was exploring how to represent those words without eclipsing them with the objects themselves. I am using an organic shape and a circle with notations to try to visually represent some prepositional words and phrases, such as “in between”, “after”, etc.
Preposition Suite (2018) - Grouping V (part of suite of 15)
Intaglio
E/ print is 7” x 4 1/4”
This Grouping V of a suite of 15 intaglio prints that were visual renditions of 15 prepositions.
Adaptive Artifacts (2018)
Stone lithography, etching, thread
e/ 8.5” x 6.5”
Inspired directly by old manuscripts on the sciences, I picked diagrams to replicate within four schools (astronomy, geometry, music and arithmetic) and removed their information and replaced them with squiggles, so as to bring attention to the variety of visual tools of the diagram and not be distracted by the written information it is trying to organize.
Alignment (2017)
Stone lithography
7” x 7”
A study inspired by rounded apertures in architecture, diagrams, telescopes and the relationship of the circle as an organizing visual tool.
Cluster (2018)
Stone lithography
17” x 15”
(Gray paper variation)
An observational study of clustering of objects from the piece Amalgamation and the flattening of the observable (thinking strongly of how we map and flatten things such as celestial objects but also things as formless and dynamic as thoughts). Exploring the technique of acid-tinting on stone lithography as a process that eats away at a rich nothingness- what was a drawing of metal wire and paper objects mutated into a mass of something that feels organic and fluid.
Point (2018)
Tarlatan, pipe
5’ x 5’
Here I used tarlatan to create a cloud-like form referencing the sky and a peephole that is pitch black and nothing inside can be seen. Dwarfed by the immensity of the pieces form, the peephole is a reference to looking through a telescope or other optical lens meant to shorten the distance of something far away. However, here, the materials that could be potentially things that could be far are close and a part of the peephole that gives no information other than darkness.
Amalgamation (2019)
Flax fiber, wire, ink
25” x 25” (paper form cluster), 5’ (distance on parenthesis brackets)
Using the parenthesis as a loose container to grant a space for it, within it in contains an organic accumulation of wire dipped in flax paper spheres that are slowly degrading due to rust at different rates. The spheres represent an organic clustering that could, potentially, reach beyond its “space”. Much like thoughts, they may grow and become larger than they are meant to be, or they may eventually rust and disappear.
It is / It isn’t (2017)
Woodcut
30” x 26”
Thinking of the grid in a more organic and abstracted way and utilizing paper as the vessel of information, this piece explores the idea of organizing something that is missing and something that is there in a process-based approach utilizing an extremely thin paper where the ink itself (which would be everything that is not the organic oval forms) is what keeps the paper together when manipulated in water.