Making ‘Parallax’ gave me the opportunity to work with color and image in a discipline very different than painting. I had worked with intaglio as an art student and was again excited at the potential to experiment with this form of printmaking. I have always considered the medium as tangential to components of how I conceive imagery. The collective project for “Pull” added another layer of importance to an already fraught process. As a result I refined my thinking and entered the project with a concept that satisfied my desire to experiment.
One foundational element of printmaking is its inception as a medium to disseminate
language to the masses. The historical value of this technical process laid the groundwork for a contemporary popular culture shaped by visual language. Hand crafted postcards, nostalgic newspaper clippings and photographs are relics that signify this origin. ‘Parallax’ compresses this anecdotal evidence in the image of a flipped american car onto a palm treed landscape. The resulting print uses perspective, space and light to merge subject and object into single view, a two dimensional landscape where catastrophe is already inscribed.