Giverny Remediated is an architectural installation of 21 large-scale (banner-sized) performative prints hung on the outside of Furtherfield Gallery in Finsbury Park, London. For my ongoing series of Compressionist prints, I strap a desktop scanner, laptop and custom-made battery pack to my body, and perform images into existence. I might scan in straight, long lines across tables, tie the scanner around my neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond. The dynamism between my body, technology and the landscape is transformed into beautiful and quirky renderings, which are then produced as archival art objects.
The source material for Giverny Remediated is from another large installation, Giverny of the Midwest (2011), and was scanned during a week-long camping trip next to a lily pond in South Bend, Indiana, then edited together over the course of nearly 2 years. These images render water, lilies, leaves and other organic forms into lush and rippling images. The piece explicitly cites Monet’s large-scale painting and installation, Water Lilies (1914-1926), at the Museum of Modern Art in New York. But Giverny of the Midwest and Giverny Remediated move between proximity and distance, and are broken down into differently-sized and -shaped prints. Here I attempt to amplify the tensions between flow and geometry, life and modularity, and place the works in dialogue with other trajectories of modern and contemporary art, while simultaneously activating the possibilities of working across digital and traditional forms.
Also part of this exhibition, Stern produced seven new Creative Commons licensed images in the lake at Finsbury Park with his scanner, all distributed at high resolution for free via a “dead drop” at the gallery, as well as online via Flickr as Rippling Images of Finsbury Park. Stern additionally built and left a scanner rig with the gallery assistants, who gave scanner hacking and scanner-print workshops throughout the Summer of 2015.
For Rippling Images, I worked with a team to produce a marine-rated scanner rig, including custom hard- and software, and performed a new series of digital works while scuba diving on a live coral reef off the coast of Key Largo in Florida. My goal was an exhibition where where site and technology – their limitations, possibilities and potentials – take greater agency in the constitution and construction of printed forms. My movements underwater, my relations to life and gravity, what I see and cannot see, fish and plants, breathing and fluidity, all affect and are affected in and as these images, being made.
Everything leaked, everything broke, nothing did what I wanted or expected: and this is precisely what must have happened to finally see the 18 wondrous prints that premiered when I was the featured artist at the Turbine Art Fair, Johannesburg in July 2014, and as a solo show at Tory Folliard in Milwaukee, WI in October of the same year.
At stake are not only the ways we perform our bodies, media, concepts and materials, but also the implications of water and land, life and non-life, that we per-form with every day: as individuals, and as a people.
Printing Time is a suite of 18 performative prints, each an edition of 5. It was produced for a solo exhibition of the same name at Art at Wharepuke in New Zealand, run by Mark Graver – author of Non-toxic Printmaking.
Giverny of the Midwest is a panoramic installation of nearly 100 performative prints, rendering water, lilies, leaves and others forms of life into moving and dynamic images. The source materials were scanned over a 3-day camping trip on a lily pond in South Bend, Indiana, and edited together over the course of nearly 2 years. The piece was initially inspired by Monet’s large-scale painting and installation, Water Lilies (1914-1926), at the Museum of Modern Art in New York. It is similarly an immersive triptych of over 250 square feet (totaling 2 x 12 meters), and follows the same patterns of light and color as Monet’s masterpiece. Giverny of the Midwest’s three panels are further broken down into 93 differently-sized and -shaped prints on watercolor paper, each spaced 2 centimeters apart. This visual allusion to Mondrian places it in further dialogue with other trajectories of modern and contemporary art, and simultaneously activates the modular possibilities of working in and with digital forms.
In the fold (edition 45) is an artist book comprised of 5 individual prints, each performed with a scanner over a 3-day camping trip on a lily pond in South Bend, Indiana. It has a total of 7 accordion-like folds, each shorter than the next, creating a staircase effect across its images. When folded, In the fold is 232 x 232 mm, and fully extended, its width expands to 884 mm.
The Giverny Series is comprised of 8 individual prints that were performed with a scanner over a 3-day camping trip on a lily pond in South Bend, Indiana. Each is 50 x 100 cm in editions of 10, and printed on watercolor paper.