In my current work, I investigate liminality - the sense of being in between - by exploring liminal places (such as train stations) and liminal states (sensory thresholds, and such transitions as between sleeping and waking) using shadows as a motif.
The monoprints in this body of work are made by manually transferring laser printed photographic images to Duralar, a dimensionally stable and archival translucent polyester film, using an acrylic medium transfer process. The laser toner transfers into the medium on the plastic film, after which the layers of paper are carefully peeled and then completely rubbed off. The resulting transparent image on translucent film feels of a piece with the subject itself.
I enjoy push and pull between control of the process and surrender to the accidents that inevitably happen, as the work is done largely while everything is wet. The imperfections - tears, scratches, finger marks, unevenness - are integral to the work. These marks contribute to an ephemeral, not-quite-solid feel and are often some of my favourite elements. There is a sense of the time worn, like an old film strip.
Liminality is an ongoing focus. I continue to be drawn to the ephemeral, fluid, layered and ambiguous, and to working with the language of light, shadow and reflection.