Mixed Print and Installation
Listening: Transmit, Receive, Connect
I am continuing my investigations into how to visualize the complexities of communication and "in-between" states. Theories of evolutionary language development and neuro- biological linguistics have been the inspiration for my recent work. Additionally, as I aim to find visual equivalents for sound, I'm experimenting with bringing two dimensional works into a three dimensional sphere —literally using volume— and, in some work, am pushing my materials into unexpected forms.
Listening: Transmit, Receive, Connect is a large-scale, three-part installation that posits aspects of sound, hearing, interpretation and the organic and mechanical forms that give us a mysterious range from cacophony to silence.
I use materials integral to these ideas: copper plates used for hand-pulled printmaking are re-fashioned as objects themselves; player piano scrolls in which the holes (absence) indicate the presence of sound are surfaces for printing and drawing; and copper and plastic tubes, used in hearing aids, take on new meanings in this installation work. I suggest lingering traces and infinite regressions of language spoken, heard and visually encoded by actively deploying the shadows cast from the works
Transmit, the first part of the Listening installation, is a matrix of over 800 feet ofetched, inked and waxed copper tubes of various lengths. Suspended on monofilament from heights of eight to ten feet high, Transmit is arranged in three separate "pages" to evoke passages of text, music stanzas, runes, sound-making instruments, etc. Each pipe is intricately inscribed with glyphs, minute patterns, and almost indecipherable words (repeating the phrases "one last question," "what you already know" and "please shout"—all language that has appeared in previous work).
Receive, the second part of the Listening Installation, consists of cone-shaped copper armatures for taut, translucent skins of prints. The prints, on transparentized Sekishu paper, are multi-plate etchings, some with relief roll that are made from the copper plates that are re-used in Connect, the third part of the installation. These structures range in diameter from 8 to 24 inches and in depth from 10 to 34 inches. Referencing satellite dishes, megaphones, ear trumpets or the labyrinthine cochlea of the ear, these structures move gently with air currents and cast dramatic shadows to furthersthe idea that sound continues infinitely into echoes and silence.
Connect, the final part of the installation, sprawls across the walls and is made of fragmented, deteriorated copper plates, plastic tubes and copper shards. Embodying the essence of the reiterative printmaking process, Connect unconventionally displays the plates used to make the prints. Thin plastic tubes (reminiscent of materials used in hearing aids), that contain thousands of tiny hand-cut copper shards and the residue of the degraded plates, connect the varied plates. Twisting like the once pneumonic tubes that passed messages from one place to another and casting shadows that mimic sentences or cityscapes, these tubes suggest the intricate ways language, sound and utterances morph their way to interpretation and meaning.