I am a Montreal-based visual artist, writer, and graphic designer interested in exploring how shifts from print to digital media have/will impact cognitive psychology and information processes. This extends past my endeavours as an artist, and serves as a theoretical and methodological framework upon which my research is based; this includes book and print history, media studies, and communication theory. I work as full-time designer and communications strategist, and am often involved in small projects as a freelance designer and brand consultant. I don’t post the majority of my professional work, but can provide a portfolio upon request. I have a B.F.A in Studio Arts & Art History from Concordia University.

“there will always be parts of us left unattended…” is multi-layered series, touching upon themes of the personal, the political and the spiritual. Dynamic overlaps establish a minimal aesthetic but a visual intensity of the manipulated image. This serves as a metaphor, in a sense, in reference to the theme of power and totem animals, emphasizing meditation, focus and calm.

Edition of 150. Enjoy this digital gallery:

“There is a definite feeling of momentum moving through the Native community in Canada,” writes Allan J. Ryan in Postmodern Parody: a Political Strategy in Contemporary Canadian Native Art, “a gathering awareness of empowerment.”² This awareness of empowerment, evident through and influenced by a series of highly publicized circumstances, placed Aboriginal people and politics at the forefront of national media coverage and government reform during the early 1990s. Environmental preservation, sovereignty and land claim rights, substance abuse, and the lasting effects of the reservation school system have been essential areas of postcolonial research and critique.³ These themes have become embedded in a postmodern art historical discourse, reflected visually by a growing community of Aboriginal artists and craftspeople.

Native modernism slowly took shape during the 1950s and 1960s, burgeoning primarily throughout the Southern and Plains regions of the United States, reaching the Great Lakes and Northwest Coast regions during the late 1970s.⁴ The use of the term ‘modern’ in ‘native modernism’ is uniquely distinct from European and American modernism. Defined by the integration of Western techniques, genres, and materials into Aboriginal art practices, and produced for an audience wider than community or ceremonial contexts, native modernism as an umbrella term encompasses many kinds of divergent styles and themes. Expansions of the art market, mobility to travel throughout the region and country, and new education opportunities for Aboriginals to train as fine artists were significant factors in shaping Canadian native modernism.⁵

Fig #1. Formline Motif, Haida Northwest Coast

In the same vein, it is essential to touch upon specific changes in museum mandate and governance that occurred throughout the early 1990s. The Canadian Museums Association and the Assembly of First Nations published the highly influential Turning the Page: Forging New Partnerships Between Museums and First Peoples (1992). This collaborative effort brought together museum staff and local Aboriginal communities “to identify the specific areas of conflict in the relationship between museums and Aboriginals, and to recommend solutions and lasting policies for dealing with these disagreements.”⁶ A more inclusive museum mandate gave Aboriginal artists the opportunity to begin contextualizing their own self-directed work and vision in the museum setting. Starting with the Canadian Museum of Civilization in Ottawa (and first implemented with Alex Janvier’s 1994 awe-inspiring dome ceiling Morning Star), Turning the Page has played a vital role in establishing a more postmodern, postcolonial consciousness among many art institutions across the country.

Before discussing Yuxweluptun, Jungen, and Yahgulanaas’ use of the re-contextualized Northwest Coast motif, it is important to describe both its pure aesthetic components, as well as address its cultural status. Achieved with great consistency through time and space, the formline motif is a striking and precise graphical language; it is minimal yet bold in both color and line. Three fundamental design units are identified: ovoid contour, the U-form, and the formline. The formline grid is comprised of a three layers of composition: a thick black bordering ‘primary formline’, a subsidiary design ‘secondary formline’, and a third infilling formline (Fig. #1). Often symmetrical, and curvilinear, the formline motif eliminates all extraneous graphical elements. Despite such a consistent visual language, the individual hand of the artist is noticeable in subtle differences of line, shape, and design.

Fig #2. Northwest Coast Commercial Items.

Northwest Coast motifs, along with the wide range of traditional and commercial totem objects they adorn, have been appropriated into Canadian discourse unlike any equivalent. Throughout the 18th and 19th century, colonizers travelled relentlessly along the coast in search of these highly fetishized objects, motivated by their commercial value and their anthropological position as ‘primitive artifact’. Argillite carvings and masks (made for the market) were extremely popular throughout the 19th century, as were model totem poles. The respiritualization of these objects within a Western context, after having been aggressively appropriated from their ceremonial significance, is largely evident in Canadian culture. It is as Charlotte Townsend-Gault has termed “the polymorphous proliferation of the First Nations designs, images, and motifs over the last 15 to 20 years.”⁷ Northwest Coast motifs appear on a range of commercial objects, including mugs, calendars, jewelry, skateboards, and t-shirts, ambiguously disassociating the designs from their original spiritual origins (Fig. #2).

Establishing an understanding of the visual components and cultural context of Northwest Coast motif is significant, as it contributes to a wider analytical understanding of its presence in Yuxweluptun, Jungen, and Yahgulanaas’ works. Furthermore, providing a background on Canadian native modernism, along side a brief understanding of changing institutional perspectives, is essential in establishing a framework for which Yuxweluptun, Jungen, and Yahgulanaas’ works can be interpreted. In many ways, the social and cultural specificity and ability to re-appropriate is in large part the result of this thriving postcolonial art discourse.

Yuxweluptun studied Studio Arts at Emily Carr College of Art and Design in Vancouver. During this period, Yuxweluptun became familiar with Western art history, experimenting with color, space, and form that were divergent from the Northwest Coast art techniques in which he traditionally practiced. Throughout his early career, Yuxweluptun’s work reflected a merging of traditionally Northwest Coast motifs and Western art practices, with both surrealist and futurist influences. As a result, Yuxweluptun’s hybrid style began to act as a critical reflection and as a means to contest colonial history. “I have been able to draw from these native experiences,” writes Yuxweluptun, “combining them with Western world experiences and technology.”⁸ Yuxweluptun’s paintings are predominantly focused on the environmental destruction of his own Cowichan land and culture, most notably the effects of mining, clear-cutting, and other “toxicological” intrusions that have permanently damaged the land. As a result, land claim rights are a vital part of Yuxweluptun’s work.

Fig #3. Lawrence Paul Yuxweluptun, The Impending Nisga’a Deal. Last Stand, Chump Change (1996), Vancouver Art Gallery.

The Impending Nisga’a Deal. Last Stand, Chump Change (1996) (Fig. #3) is a striking painting, revealing a surrealist quality that harkens back to Dali. Relocated through the integration of Northwest Coast imagery, Yuxweluptun’s work combines formal design motifs, a dreamlike landscape, and a psychedelic color palette. The painting features three skeletal characters, one of which is holding a briefcase and appears to be walking off the canvas. Their heads are cartoon-like and adorned in bright pastels colors, while retaining a distinct Northwest Coast language. The formline motif is evident, despite a radical divergence from the typically black, red, and white palette.

Formlines are used to create the melting mountain range, in the foreground and to the right. The liquid quality of the landscape appears as if it is deflating, emphasized by the watery nature of the landscape’s ground, where bold colors are absorbed into more murky earth tones. The landscape of the painting encapsulates a sadness and sorrow, a literal deflation, directed towards the practices of colonization and its destructive results. Furthermore, the work places emphasis on the indivisibility of environment from identity, reflected by formline faces melting off the deflated mountain range. This relationship with the land, as an integral element of spiritual identity, is a key aspect of this work.

The Impending Nisga’a Deal. Last Stand, Chump Change addresses many concerns relevant to the preservation of Aboriginal heritage, environment, and identity. Reservation life, land conservation, and self-governance are essential themes of this work. “The next step towards de-colonization of First Nations,” writes Yuxweluptun, “must be the recognition by the provincial governments of our sovereign indigenous government. As sovereign caretakers of the land, our forebears were always the protectors of the biosphere.”⁹ While sovereignty and self-governance were at the forefront of media coverage at the time, little was done to accommodate the demands of Aboriginals. Yuxweluptun work, in many ways, serves as political protest. Yuxweluptun writes, “you cannot hide the real history or even the censorship of native history, a colonial syndrome.”¹⁰

Fig #4. Lawrence Paul Yuxweluptun, Multinational Mercenaries Global Destroyers Soldiers of Fortune the New World Order (2001), Private Collection.

One of Yuxweluptun’s more recent works, Multinational Mercenaries Global Destroyers Soldiers of Fortune the New World Order (Fig. #4) is a stunning example of Northwest Coast design merged with a pop art style, contemporizing the traditional palette through the use of a variety of pastel colors. In this work, seven figures are bunched together and wearing black business suits. While on the surface the faces are distinctly Northwest Coast, certain attributes take the work away from their conventional setting. Notably, representing these figures wearing clothing, let alone business suits, is extremely striking and usual. Use of three-quarter perspective, large white teeth, a variety of eye color, and groomed haircuts are additionally a divergence from the traditional bare graphical language.

There is hostility captured in the visual tone of the painting. The figures appear to be snarling, with eyes tilted downward, bent eyebrows, and exposed teeth. Gangly fingers seem more like hooks than hands. It is unclear if these figures are meant to represent Aboriginal people who have become suit-wearing bureaucrats or if they are suit-wearing bureaucrats who have come to own and exploit Aboriginal territory. It is entirely plausible that Yuxweluptun is addressing both at once, touching upon the duality and complexity of land-claim rights in government legislation, as well as environmental degradation in a profitable yet unethical capitalist practice.

Fig #5. Brian Jungen, Prototypes for a New Understanding #11 (2001).

Over the past decade, Brian Jungen has attracted a lot of attention. Rooted in sculpture and installation, his multi-media based series engages in a critical reading of Northwest Coast object as commodity items. Prototypes for a New Understanding #1- #23 (1998-2005) (Fig. #5), a collection of 23 objects painstakingly unstitched and reconstructed from Nike Air Jordan shoes into ‘fake’ Northwest Coast Haida masks, creates intelligent and surprising juxtapositions. Color plays a powerful role in establishing a direct relationship between the Western object and the Aboriginal mask. The Air Jordan’s culturally distinct color palette, red, white, and black (Fig. #6), are reconstructed within the framework of the culturally distinct palette of Northwest Coast desgins. Furthermore, and a contributing factor to the uncanny resemblance of objects, is the understanding Jungen has of Northwest Coast motifs. With careful regard for the sequence, form, and weight of the design structure, Jungen vividly imitates the visual language of authentic object.

To the untrained eye, or unexpected viewer, one might mistake the reconstructed objects for the real deal. Even the materiality of the masks, predominantly fashioned from fake leather, makes the series all the more convincing. The true origins of the material reveal themselves in subtle but obvious ways. Tiny Nike logo swoosh marks are often used as eyes and ‘Made in…’ labels are visible. The materiality of the shoe becomes evident upon closer observation; fleece, vinyl, breathable materials, Velcro patches, and rubber are combined ingeniously within the confines of the formline language. Additionally, the underneath of the object is left visible. Hundreds of messy yet intricate stitches bind together thick, sloppy folds of fabic, foam, and plastic. Ventilated mesh, commercially printed measurements and rulers, and thick rubber parts expose the commerciality of the source material.

Fig. #6. Nike Air Jordan IV, 1987.

A material culture analysis is vital in further understanding the depth of Jungen’s critique. Not only does the source material come from a corporation synonymous with globalization, capitalism, and labor politics, the Air Jordan is iconic of pop culture and the rarified object. Between the mid-1980s and late-1990s, the Air Jordan shoe was a cultural status symbol unlike any other. Anxious fans waited breathless, obsessively reading specs and features, debating over the value and condition of their prized collector’s items. With one of the most successful, and commodified, athletes of all time backing the brand, Nike established itself as the of most powerful and profitable sports gear and apparel manufacturers in the world.¹¹ Despite this international success, the multinational company has been one of the most heavily criticized for their unethical use of sweatshop labor. Jungen’s use of a culturally-loaded source material, grafted onto a Northwest Coast tradition, underscore their similarities as commercial objects and collector’s items.

While the commercial value of the materials used in their Northwest Coast context is extremely provoking, what is equally fascinating is the works themselves have become rarified and highly sought-after art objects. With only twenty-three masks made, chosen in relationship to Jordan’s jersey number, Jungen’s works are in high demand among the most prominent museums across the country. After refusing to make more, Jungen’s art object has been elevated to a similar iconic status as both the Air Jordan and the original Northwest Coast object. As a result, the dialectical nature of the series is amplified, as it equally embodies and affirms what it fundamentally critiques. It would be valid, in a sense, to interpret these art objects as an extension of the authentic object, existing in a contemporary role-reversal that, although subverted, has continued its historical chronology.

Fig #7. Michael Nicoll Yahgulanaas, RED, (2009).

Yahgulanaas’ RED: A Haida Manga (2009) (Fig. #7) assembles a new visual language that unites Northwest Coast designs with Asian arts and aesthetics. Yahgulanaas employs themes of Aboriginal oral narrative and storytelling merged with Japanese Manga styles, marking itself as an innovative example of contemporary Northwest Coast hybird aesthetic. Red is the powerful story of an archetypal leader who seeks revenge against his sister’s captors. While on a spirit quest, a band of raiders capture Red’s sister Jaada. Vowing to find his sister’s whereabouts, Red and others from his village comb the lands and water in search of signs of life. After spotting Jaada in community quite far from his own, Red decides to take action. The poignant ending to Red’s life-long desire to be reunited with his sister examines the devastating effects of retribution and revenge.

What makes this work so special is how Northwest Coast aesthetics have been integrated with a Japanese influence. The painterly quality of the characters, as well as the format of the graphic novel, are combined with Northwest Coast designs through both the likeness of characters’ faces and the use of thick primary formlines in place of traditional comic book panels. By utilizing the curvilinear shapes of the formline style, Yahgulanaas work takes on a lucidity that transforms the context in which the narrative develops, employing Northwest Coast cosmology in innovative ways. As an example, the formline panels that are the mind and eyes area of the design, traditionally signifying a space of remembering and dreams, serve as panels that are gateways into Red’s memory. Furthermore, the eloquence in which each page comes together in a large 4 x 1 meter painting expresses an interconnectedness of parts, a theme significant in Northwest Coast ceremony (Fig. #8). The thickest primary formlines, while arbitrary in a page-to-page reading, are joined together to establish a complete visual narrative and creates a complex design of Northwest Coast creatures and shapes.

Fig #8. Michael Nicoll Yahgulanaas, RED, (2009).

In terms of descriptive writing, there is almost none. Based only in dialogue, Red honors and recognizes the oral tradition that is integral in Northwest Coast culture and heritage. The oral history of the Northwest Coast, which has never been preserved in print-based work until recently, exists for so many vital reasons. Oral tradition acts as a method in which stories are kept alive, skills are passed down from generation to generation, and people are honored and remembered. The comic book format, as a narrative style that is predominantly based in dialogue and visual description, fits fluently within Yahgulanaas’ intention. Dually, the work pays tribute to the tradition of visual storytelling, which is central in Aboriginal culture.

It is significant to note that Yahgulanaas’ work is based in a North Pacific aesthetic rather than a Western influence. “I draw on their [Japanese] long standing appreciation that complexity and diversity can be conveyed in manga or graphic literature,” writes Yahgulanaas in a web interview with comic book journalist Robert Haines.¹² By grafting the work onto a North Pacific tradition, Yahgulanaas deliberately places the work outside of a Western discourse. Yahgulanaas’ use of manga serves as a non-threatening way to examine the complex structures of an Aboriginal tradition within a contemporary society, a well as culturalism and racism.¹³

While Yahgulanaas is most recognized for his Haida manga, and to a much larger audience in Japan than in Canada for that matter, his work at the University of British Columbia Museum of Anthropology is far too satiating to overlook. Pedal to the Meddle (2007) (Fig. #9) completely re-contextualizes Aboriginal art within its contemporary framework. In this work, Yahgulanaas has flipped the most famous Canadian canoe, carved and painted by Bill Reed, on top of a Pontiac Firefly (named after the indigenous leader and an insect).¹⁴ The black car has been sparsely embellished, with Yahgulanaas’ distinct hybrid Japanese/Northwest Coast designs, in specific areas with argillite dust and copper leaf. The headlights, rims, windshield wipers, and review mirrors are painted a bold copper while the rest of the car remains black. There is a visual association between the color of the canoe and the car; the bold black primary formlines against the mainly bark-colored canoe is inverted on the Pontiac’s predominantly black with copper highlights.

Fig #9. Michael Nicoll Yahgulanaas, Pedal to the Meddle (2007), University of British Columbia Museum of Anthropology.

Subtle aesthetic juxtapositions communicate playful dualities that amplify the relationship between the two objects, and in a sense, the relationship between the two generations. The title of the work Pedal to the Meddle is double-edged, as Yahgulanaas self-describes this work as meddling with past. Both are modes of transportation, although distinctly separated by era. The position of the car on the ramp, complimented with skid marks on the floor, looks as if, as Yahgulanaas says, “we’re trying to steal the canoe back.” An integral theme of Yahgulanaas’ meddling is the need to keep an open dialogue. “Before, it was just them taking and us complaining,” he says. “But now there is more of an active conversation.”¹⁵

The revision of museum mandate, postcolonial research, and a flourishing Canadian native modernist discourse have been fundamental in establishing a more holistic understanding Aboriginal art objects and furthermore Aboriginal artists. A greater opportunity to study and practice as professional artists, along with a national discourse that invites the contention of dominant history, has been widely influential both politically and culturally over the last two decades. It is for this reason that it would be shortsighted to overlook the specificity of these artists within native modernism. While the discourse is extended to include Yuxweluptun, Jungen, and Yahgulanaas’ works, it also acts as an umbrella term in which many generations of artists are hastily categorized.

While the theoretical implications of establishing new terminology might be tricky, partially due to lack of sufficient scholarly research and partially due to the problematic implications of this terminology, it is necessary to explore a bit further. Gerald R. McMaster quite eloquently suggests ‘post-Indian.’¹⁶ As a relatively new subset of native modernism, coined by McMaster for the Smithsonian National Museum of the American Indian’s 2007 exhibit Remix: New Modernities in a Post-Indian World, post-Indian contextualize Aboriginal artworks that explore complex themes of being an indigenous artist in the 21st century.¹⁷ While there is some hesitancy in bracketing these works as post-Indian, almost entirely in regard to Yuxweluptun’s paintings, it is necessary to differentiate them from their predecessors. As an example, if Bill Reid and Robert Davidson’s Northwest Coast print media is categorized within native modernism, then it is essential to establish a more appropriate framework for Yuxweluptun, Jungen, and Yahgulanaas’ bodies of work. It is important to recognize that the term post-Indian does not denounce the Aboriginal identity or somehow surpass it, but rather explores a multitude of cross-cultural experiences and contemporary influences within a native modern discourse.

A postcolonial research methodology has been essential in understanding the depth and strength of the critiques presented by Yuxweluptun, Jungen, and Yahgulanaas’ diverse works. In the case of these artists, appropriation has been employed in a way that subverts and reconstructs the visual language and context of Northwest Coast motifs. Through employing cross-cultural aesthetics, materials, and concepts, Yuxweluptun, Jungen, and Yahgulanaas’ works have emphasized the evolving and ever-changing quality of this distinct graphical language as it continues to reflect the social and cultural influences of its art maker. As artists continue to engage in similar styles, methods, and critiques, it will become more evident as how to graph these works within native modernism or possibly within a distinct Aboriginal art historical framework.

This essay was written for FFAR 250, Bachelor of Fine Arts, Concordia University. I have included all images and sources used for this essay. Feel free to contact me directly about anything explored in this work.

Bibliography

Aschroft, Bill, Gareth Griffiths, and Helen Tiffin. Post-Colonial Studies: Key Concepts. New York: Routledge, 2000.

Assembly of First Nations. Turning the Page: Forging New Partnerships between Museums and First Peoples. Ottawa: Assembly of First Nations and CMA. 1992.

Berlo, Janet, and Ruth B. Phillips. Native North American Art. London: Oxford University Press, 1998.

Dell DeTienne, Kristen and Lee W. Lewis. “The Pragmatic and Ethical Barriers to Corporate Social Responsibility Discolsure: The Nike Case” in Journal of Business Ethics 60, no. 4 (Sept 2005). 360-361. Accessed March 20th, 2011.

Gibbons, Jacqueline A. “The Museum as Contested Terrain: The Canadian Case.” The Journal of Arts Management, Law, and Society 26, no. 4 (1997): 309-314. Accessed November 17, 2010.

Haines, Robert. “Michael Nicoll Yahgulanaas – The Joe Shuster Awards.” Michael Nicoll Yahgulanaas. Accessed November 2, 2010.

Houle, Robert, Dianna Nemiroff, and Charlotte Townsend-Gault. Lawrence Paul Yuxweluptun. “Land, Spirit, Power: First Nations at the National Gallery of Canada.” Ottawa: National Gallery of Canada, 1992.

Kalbfleisch, Elizabeth. “ARTH 376 Native North American Art: Northwest Coast Early Contact Potlatch Ban.” Lecture notes. Concordia University, Montreal, November 16, 2009.

Ryan, Allan J. “Postmodern Parody: a Political Strategy in Contemporary Canadian Native Art.” Art Journal 51, no. 3 (1992): 59-65. Accessed January 6, 2010.

Tousley, Nancy. “Spotlight: Brian Jungen: Cool Cooler Coolest.” The Fraser Elliott Foundation (Summer 2003): 40-41.

Townsend-Gault, Charlotte. “Circulating Aborigniality.” Journal of Material Culture 9, no 2 (2004): 183-202.

Villian, John, “’Remix: Heard Museum.” ARTNews 107, no. 3 (March 2008): 146-148.

1. Elizabeth Kalbfleisch, “ARTH 376 Native North American Art: Northwest Coast Early Contact Potlatch Ban” (lecture notes, Concordia University, Montreal, November 16, 2009): 21. ↩
2. Allan J. Ryan, “Postmodern Parody: a Political Strategy in Contemporary Canadian Native Art” in Art Journal Vol 51, No. 3 (1992): 59, accessed October 28, 2010. http://www.jstor.org/stable/777349. ↩
3. Ryan, 59. ↩
4. Janet Berlo, Ruth B. Phillips, Native North American Art (London: Oxford University Press.1998) 222-225. ↩
5. Berlo and Phillips, 210. ↩
6. Assembly of First Nations, Turning the Page: Forging New Partnerships between Museums and First Peoples (Ottawa: Assembly of First Nations and CMA, 1992), 4. ↩
7. Charlotte Townsend-Gault, “Circulating Aborigniality” in Journal of Material Culture, Vol 9, No 2 (2004): 187. ↩
8. Robert Houle, Dianna Nemiroff, Charlotte Townsend-Gault, “Lawrence Paul Yuxweluptun” in Land, Spirit, power: First Nations at the National Gallery of Canada (Ottawa: National Gallery of Canada, 1992), 222. ↩
9. Houle, Nemiroff, and Townsend-Gault, 221. ↩
10. Houle, Nemiroff, and Townsend-Gault, 220. ↩
11. Kristen Dell DeTienne and Lee W. Lewis, “The Pragmatic and Ethical Barriers to Corporate Social Responsibility Discolsure: The Nike Case” in Journal of Business Ethics Vol. 60, No. 4 (Sept 2005): 360-361. ↩
12. Robert Haines, “Michael Nicoll Yahgulanaas – The Joe Shuster Awards” Michael Nicoll Yahgulanaas, last modified August 2009, http://joeshusterawards.com/2009/04/09/michael-nicoll-yahgulanaas-interview, accessed January 2, 2011. ↩
13. Haines. ↩
14. The Gilmore Gallery of Fine Art, “MICHAEL NICOLL YAHGULANAAS – House of the Spirit Bear Gallery – Vancouver BC Haida Manga,” last modified Febuary 2008, accessed January 16, 2011, . ↩
15. The Glimore Gallery of Fine Art. ↩
16. John Villian, “’Remix’: Heard Museum” in ARTNews Vol. 107, No. 3 (March 2008): 146 ↩
17. Villian. ↩

]]> http://before-midnight.com/archives/327/feed 0 http://before-midnight.com/archives/99 http://before-midnight.com/archives/99#comments Sat, 16 Apr 2011 04:57:42 +0000 lisahoffa http://before-midnight.com/?p=99 (Statement): “the streetlights painted a portrait…” is an artist book of sorts, born out of a stream-of-conscious approach to art making and aims to touch deeply on the roots of sentiment, ripe with both an urgency and a nostalgia for things far too tangled up to place. This work touches on themes of visual abstractions in the context of a multi-layered image and in turn the infinitely layered image of our own consciousness. The combined result of this visceral chaos touches on themes of an urban snapshot, filled with the urgent panic of contemporary living. As well, this work addresses themes of memory, recognition, transparency and both visual and literal overlap.

The poetry is critical, serving a function in establishing a duality between the digital images and B&W text. The lyricism and rhyme scheme of the written work reflect themes of misplacement and metaphor. As role of metronome, the poetry plays both the role of mediating the images and well as generating a visual pulse. It is meant to serve as an alternative departure point as well as creates a narrative that contextualizes the series of digital images.

Edition of 10. Each print with vellum stanza is being distributed separately. Enjoy this digital gallery:

And possibly some more images…

 

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More prints from this series can be found at this digital gallery. Enjoy. Note about digital prints: most of my prints are being sold for cheap. All prints are archival quality ink and paper, printed on EnviroMatte 160g 100% recycled. They won’t fade or yellow over time. Each digital print are limited edition 100 copies; your print will be numbered and signed. Keep art affordable by supporting it!

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