For the past few years, I have used traditional printmaking processes, as well as other media, to address and express a number of themes related to mankind’s quest for knowledge and truth. My current work often presents the viewer with allegorical retellings of what I find to be some of the most poignant moments and themes in the history of the sciences, especially with consideration to the scientific development of the Modern era.
Through combining historical printmaking techniques such as Intaglio and Lithography with contemporary processes such as Digital Fabrication, in addition to addressing subject matter and imagery that marries history with Modernity, I seek to build connections between humanity’s collective past and the present age. Weaving together what might commonly be thought of as disparate narrative sources such as Myth and the scientific endeavors of the last century, my work brings the past and present to a point of convergence – a sort of narrative singularity that situates the aspirations, successes, and failures of Modern science on the same archetypal path that man has enacted since time immemorial.
Printmaking has long been used as a means to distribute informative content to audiences in a graphic way, a fact that is certainly not lost on me. I celebrate this aspect of the medium’s history in my own studio practice, as my body of work is often characterized by its didactic quality. Informed by the imagery and presentation of scientific illustration, technical diagrams, and other related print media such as books, my work employs some of the same visual language that defines these applications as a means of deepening the convergence of the analytical and the poetic. Ultimately, it is this relationship between the analytical and the poetic in science that I am drawn to, and in kind invite the viewer to contemplate as well.