As a trained engineer and printmaker, I create artwork that harmonizes computational and traditional image-making techniques as a means to explore our individual and societal relationship with technology.     

 

My current body of work leverages digital samples of the natural world (photographs or sound recordings) as starting points for print compositions. With photographs, I focus on just a few pixels within an image, feeding them through a software pipeline I’ve built to mimic the mechanism of traditional aquatint, which produces gray tones using only black dots etched in a metal plate. I then send the coordinates of each resulting dot to a plotter machine that creates an image directly on paper, or makes marks on a coated copper plate. When working with audio, I sample coordinates within the recording’s spectrogram and translate hand-drawn marks to those locations in order to form the basis of a visual pattern. To title pieces in this body of work, I use the number of dots that make up the etching alongside what the image represents, referencing the duality of what things are as we see them, and what things are made of.

 

In the current conversation surrounding the humane bounding of technology usage, it can be difficult to find a middle ground that neither wholly rejects nor embraces it. This body of work aims to honor quick, instinctual photos and recordings, and the universal desire to preserve something swiftly passing.