Nominated by Columbia College Chicago
My practice explores formalism through site-specific installation and printmaking using minimal forms of line, shape and pattern. With a limited palette inspired by the process colors cyan, magenta, yellow, and black (CMYK), this work presents formal interactions to evoke a phenomenological aesthetic experience. The various combinations of two-color overlays and halftoning allow my installations to provide viewers with individual experiences based on their vantage point.
Each in situ work originates from silkscreen prints based on print production’s use of halftone screening. Adhering to assigned screen angles to prevent a moiré (cyan at 15º, magenta at 75º, yellow at 90º, and key black at 45º) halftone lines overlay to create various experiences between the viewer and viewed. From a distance, these large-scale installations appear as a continuous tone; for instance, halftone yellow and cyan lines appear as green from afar. As the viewer becomes more intimate with the work, the optical vibrations from the halftones begin to reveal that more than one color is present. Upon an even closer examination, the viewer notices the formal specifics of the halftones, whether they are ellipses or lines. Once the viewer has identified the separate colors involved in each installation, as they step back again, their vision reverts to thinking one color is present while their experience will tell them two colors exist. This visual contradiction depicts the visual phenomena in which our eyes will see a reality that our mind knows is not true.
Image: Tuscan 1590, 2017