These works reference traditional print methods by playing with the idea of color separations and halftoning. The halftone process itself is a form of reproduction, transforming a continuous tone into a series of dots. As an artist, I am interested in the interplay between mechanical reproduction and hand-created marks, and how halftone printmaking can bring these two elements together.
For the backgrounds, I began with details photographed from some of my own monoprints that I “reproduced” rather unfaithfully with enlarged halftone dots and varying color combinations. They feature layers of halftoning with vector drawn objects overprinted on them that interplay and intersect, creating a visual dialogue between the different elements. By incorporating my own artwork within the composition, I am blurring the boundaries between the original image and the printed reproduction, and inviting the viewer to consider the relationship between the two.
In an improvised transfer process, I print my screens (one for each color onto multiple polycarbonate monoprint plates with oil based inks, then run the plates through a press to print onto dampened paper. The linear objects start as vector based drawings that I expose onto a screen and print in the same transfer manner.