Omikuji, A5, risograph, Japanese stab-binding, edition of 50 with 6 APs. In collaboration with and printed by David Moy on French Paper Co. Construction 100 lb. cover in Insulation Pink.
Omikuji is a compilation of drawings as translations of translations, conflating neural machine translations output and my own non-fluent voice. Through iterations of both image and text, Japanese fortunes are inspected and employed beyond their intended cleromantic use to cull intimacy from broken English and faulty bilingualism. It is within this channel of technological blips and linguistic error that a nascent relationship of the inarticulate self and the romanticized doppelgänger of potential is revealed.
Omikuji, A5, risograph, Japanese stab-binding, edition of 50 with 6 APs. In collaboration with and printed by David Moy on French Paper Co. Construction 100 lb. cover in Insulation Pink.
Omikuji is a compilation of drawings as translations of translations, conflating neural machine translations output and my own non-fluent voice. Through iterations of both image and text, Japanese fortunes are inspected and employed beyond their intended cleromantic use to cull intimacy from broken English and faulty bilingualism. It is within this channel of technological blips and linguistic error that a nascent relationship of the inarticulate self and the romanticized doppelgänger of potential is revealed.
Omikuji, A5, risograph, Japanese stab-binding, edition of 50 with 6 APs. In collaboration with and printed by David Moy on French Paper Co. Construction 100 lb. cover in Insulation Pink.
Omikuji is a compilation of drawings as translations of translations, conflating neural machine translations output and my own non-fluent voice. Through iterations of both image and text, Japanese fortunes are inspected and employed beyond their intended cleromantic use to cull intimacy from broken English and faulty bilingualism. It is within this channel of technological blips and linguistic error that a nascent relationship of the inarticulate self and the romanticized doppelgänger of potential is revealed.
Cyanotype No. 35_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
7 x 10 inches
unique print
2020
Cyanotype No. 29_Untitled 01.19 (reverse)
cyanotype on Strathmore bristol paper, 270 gsm
9.875 x 7.25 in (25 x 18.4 cm)
unique print
2020
Cyanotype No. 24_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
10.5 x 8 in. (27 x 20.3 cm.)
unique print
2020
Cyanotype No. 31_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
7.125 x 6.31 inches
unique print
2020
Cyanotype No. 34_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
7.5 x 11 inches
unique print
2020
Cyanotype No. 36_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
10.125 x 8.125 inches
unique print
2020
Cyanotype No. 28_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
8.5 x 5.5 in. (21.6 x 14 cm.)
unique print
2020
Cyanotype No. 29_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
14.25 x 8.875 in. (36.1 x 22.5 cm.)
unique print
2020
Cyanotype No. 25_Summer 2020
cyanotype on French Paper Co. Construction Paper
8.5 x 6.75 in. (21.6 x 17 cm.)
unique print
2020
Cyanotype No. 23_Summer 2020
cyanotype on Strathmore bristol paper, 270 gsm
12 x 9 in. (30.5 x 23 cm.)
variant edition of 3
2020
Study for Magic Wand Weed Garden No. 3
acrylic on watercolor paper
12 x 9.5 inches
2020
Study for Magic Wand Weed Garden No. 2
acrylic on watercolor paper
12 x 9.5 inches
Study for Magic Wand Weed Garden No.1
acrylic on watercolor paper
12 x 9.5 inches
2020
Untitled
screenprint on handmade paper, acrylic
8 x 12 inches
2020