In an exhibition by Wade Guyton – Das New Yorker Atelier Abridged at Serpentine gallery 2017,
I was inspired by the use of consumer grade printing equipment to create glitches and distorted prints.
“He purposely misuses these pieces of mass produced technology, testing their abilities in order to explore the anatomy of digital images and allowing the limits of their capacities to dictate final outcomes. Sheets of canvas are folded lengthways, and pages are torn from art catalogues and run through inkjet printers. The thickness and resistant surfaces of the sheets of linen, torn edges of paper, clogged inkjet heads, technical glitches and the roughness of the studio floor over which the printed fabric is pulled all create distortions, smears and inconsistencies that draw attention to the process of making” exhibition catalogue (Wade Guyton, 2017).
The way Guyton uses digital files which will not decay as nature does, but he deliberately creates imperfections by overprinting, intentionally smudging and using fractured imagery; which represents the glitches in memory, has been recreated through my sampling. A monochrome study which looks at layering print and mark making over images is something that visually represents the way memories are formed over time, and layer up. Following this concept, he layers up canvases showing how memories impact each other, and layer over time. I have documented my processes as a response to this, recording images and sound to display how the memories of each sample have been built up over time, resembling the nature of memory.