Recollection
Through my work, I explore connections of reality and memory. I have little to no episodic memory—there was no accident or trauma, my brain just won’t record moments visually. Or at least not in a way that’s accessible. As humans, memories are integral to a sense of self and how we relate to others. “We are who we remember being.” is probably something someone said once. So who are we if we can’t remember? Much of my art practice utilizes photographs and stories from my childhood to explore my lack of memory, attempting to clarify the past that I had as well as working to add other people’s pasts to my own. I prefer the term “borrowing nostalgia.”
I am also interested in the breaking down and alteration of all memory. Every time we remember something, our brain changes that memory, so at what point do the differences between your changed memory and my fabricated memory blur? Remembering something a certain way seems equal to that thing actually being that way. So, is perception more important than reality?
I am also interested in the breaking down and alteration of all memory. Every time we remember something, our brain changes that memory, so at what point do the differences between your changed memory and my fabricated memory blur? Remembering something a certain way seems equal to that thing actually being that way. So, is perception more important than reality?
|
|
|
Conversations, 2021
Photographs embedded in handmade paper. Stenciled pulp removal (blow-out).
Large text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu. Small text written by the artist.
18 x 12 inches each.
Edition of 3 with abaca top sheet and cotton base, edition of 3 with white cotton top sheet and grey cotton base.
Made through an artist residency at the Morgan Conservatory in Cleveland, Ohio.
Photographs embedded in handmade paper. Stenciled pulp removal (blow-out).
Large text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu. Small text written by the artist.
18 x 12 inches each.
Edition of 3 with abaca top sheet and cotton base, edition of 3 with white cotton top sheet and grey cotton base.
Made through an artist residency at the Morgan Conservatory in Cleveland, Ohio.
Timelines, 2020
Paper cutting and trace monotypes on found photographs.
Text written by the artist.
6 x 4 inches each.
Unique works.
Paper cutting and trace monotypes on found photographs.
Text written by the artist.
6 x 4 inches each.
Unique works.
|
|
|
Outside of Time, 2020
Installation. Handmade abaca paper with pulp painting and inclusions, projector with found and altered slides.
Dimensions variable. Approx. 4.5 x 6 inches each.
Unique works.
Installation. Handmade abaca paper with pulp painting and inclusions, projector with found and altered slides.
Dimensions variable. Approx. 4.5 x 6 inches each.
Unique works.
How to Live Safely in a Science Fictional Universe by Charles Yu. Borrowed, 2019
Inkjet printed photographs embedded in handmade cotton and abaca paper with stenciled pulp removal.
Text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu.
This piece was produced as an edition for the exchange portfolio titled Extra Pulp. Learn more about this piece and the exchange portfolio here.
Inkjet printed photographs embedded in handmade cotton and abaca paper with stenciled pulp removal.
Text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu.
This piece was produced as an edition for the exchange portfolio titled Extra Pulp. Learn more about this piece and the exchange portfolio here.
Links, 2019
Handmade cotton paper, inkjet printed inclusions, stenciled pulp removal (blow-out), and screen-printing.
How to Live Safely in a Science Fictional Universe by Charles Yu.
12 x 18 inches
Edition of 18
This piece was produced as an edition for the exchange portfolio titled Between Tenses. Learn more about this piece and the exchange portfolio here.
Handmade cotton paper, inkjet printed inclusions, stenciled pulp removal (blow-out), and screen-printing.
How to Live Safely in a Science Fictional Universe by Charles Yu.
12 x 18 inches
Edition of 18
This piece was produced as an edition for the exchange portfolio titled Between Tenses. Learn more about this piece and the exchange portfolio here.
Superposition, 2018
Handmade cotton and abaca paper, inkjet printed inclusions, pulp painting, and letterpress printing.
Large text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu. Small text written by the artist.
11 x 17 inches
Edition of 20
This piece was produced as an edition for the exchange portfolio titled Exposed Strata. Learn more about this piece and the exchange portfolio here.
Handmade cotton and abaca paper, inkjet printed inclusions, pulp painting, and letterpress printing.
Large text excerpted from How to Live Safely in a Science Fictional Universe by Charles Yu. Small text written by the artist.
11 x 17 inches
Edition of 20
This piece was produced as an edition for the exchange portfolio titled Exposed Strata. Learn more about this piece and the exchange portfolio here.
|
|
Deterioration Series, 2017
Inkjet and screen printing on cotton fabric.
18 x 21 inches each
Inkjet and screen printing on cotton fabric.
18 x 21 inches each
Was He Series, 2017
Original photographs and notes encased in handmade abaca paper, fiber removal, and letterpress printed wood type.
Text excerpted from articles on how to write a eulogy.
Approx. 11 x 14 inches each.
Unique works.
Original photographs and notes encased in handmade abaca paper, fiber removal, and letterpress printed wood type.
Text excerpted from articles on how to write a eulogy.
Approx. 11 x 14 inches each.
Unique works.
|
|
Reliquary, 2017
Tunnel book. Screen printing and cut paper.
6 pages. Edition of 40.
Tunnel book. Screen printing and cut paper.
6 pages. Edition of 40.
Lost, 2017.
Letterpress printing on Impossible Project film.
3.5 x 4.25 inches each.
Letterpress printing on Impossible Project film.
3.5 x 4.25 inches each.
Mournings Series, 2017
Letterpress printing on found postcards
5.75 x 3.75 inches
Letterpress printing on found postcards
5.75 x 3.75 inches
|
|
Remainders Series, 2017
Blow-outs on handmade cotton and abaca paper.
Approx. 8.5 x 11 inches each
Unique works.
Blow-outs on handmade cotton and abaca paper.
Approx. 8.5 x 11 inches each
Unique works.
Tyler, 2017
Pressure printing and screen printing.
13 x 9.5 inches
Pressure printing and screen printing.
13 x 9.5 inches
2017
Screenprinting.
Screenprinting.
Between Tenses, 2017
Staple binding. Risograph printed.
24 pages. Edition of 70.
Published by Waterhouse Ltd., Philadelphia, PA
Staple binding. Risograph printed.
24 pages. Edition of 70.
Published by Waterhouse Ltd., Philadelphia, PA
Beloved, 2016
Drumleaf, drop-spine case binding. Inkjet print, letterpress printing and pigment dusting on iridescent cotton paper handmade by Richard Langdell.
24 pages. Edition of 8.
Drumleaf, drop-spine case binding. Inkjet print, letterpress printing and pigment dusting on iridescent cotton paper handmade by Richard Langdell.
24 pages. Edition of 8.
Devoted, 2016
Drumleaf binding. Pressure printing and wood type.
12 pages. Edition of 100.
Published by IS Projects through Existent Books.
Drumleaf binding. Pressure printing and wood type.
12 pages. Edition of 100.
Published by IS Projects through Existent Books.
Memento, 2015
Nine panels housed in a portfolio. Inkjet printing, letterpress printing and trace monotypes.
Text written by the artist.
9 pages. Edition of 18.
Nine panels housed in a portfolio. Inkjet printing, letterpress printing and trace monotypes.
Text written by the artist.
9 pages. Edition of 18.
2016
Pressure print.
8.5 x 10 inches
Edition of 6.
Pressure print.
8.5 x 10 inches
Edition of 6.
Fragments, 2014
Inkjet prints encased in handmade abaca paper with fiber removal.
8 x 10 inches
Edition of 150
This piece was produced as an edition for the exchange portfolio titled Negative Spaces in Handmade Paper. Learn more about this piece and the exchange portfolio here.
Inkjet prints encased in handmade abaca paper with fiber removal.
8 x 10 inches
Edition of 150
This piece was produced as an edition for the exchange portfolio titled Negative Spaces in Handmade Paper. Learn more about this piece and the exchange portfolio here.
The Breadth, 2012.
Inkjet print and linocut.
Inkjet print and linocut.
2012
Inkjet and letterpress printing on handmade abaca paper.
Inkjet and letterpress printing on handmade abaca paper.
Vestige, 2012
Flat-back case binding. Pulp painting, inkjet printing, screen printing, and letterpress printing on handmade paper.
72 pages. Edition of 5.
Flat-back case binding. Pulp painting, inkjet printing, screen printing, and letterpress printing on handmade paper.
72 pages. Edition of 5.
Coruscation, 2012
Set of two books. Blizzard binding and modified accordion.
Blizzard: Screen printing and letterpress printing on handmade paper. 12 pages.
Accordion: Inkjet printing, screen printing, letterpress printing and pop-ups. 16 pages.
Edition of 5.
Set of two books. Blizzard binding and modified accordion.
Blizzard: Screen printing and letterpress printing on handmade paper. 12 pages.
Accordion: Inkjet printing, screen printing, letterpress printing and pop-ups. 16 pages.
Edition of 5.
BFA Thesis Piece, 2012
Inkjet prints encased in handmade abaca paper. Screen printing and letterpress printing.
15 in. x 12 in. each.
Unique works.
Inkjet prints encased in handmade abaca paper. Screen printing and letterpress printing.
15 in. x 12 in. each.
Unique works.