Commercial Print Media

While I am dedicated to an experimental practice in which I explore the possible applications of commercial print media to art production (although I have recently begun producing installation-based work which do not employ print media, and further, have begun researching a project I hope to execute in film), a large part of my production remains engaged with the comic as a means to effect critical analysis of visual and ideological forms. I have found it helpful to think of this work as acting as a precursor to filmic production. Just as painting acted as a substrate to filmic syntax, so to the comic form anticipates the pictorial logic of filmic montage, and has been adopted by film in the form of the storyboard, acting as a kind of intermediate step between the singular static image and sequential pictoriality. Mimicking this historical process, I have included in the logic of my practice the possibility of going backwards and forwards between different media—the opposite of media specificity—where a work could be manifested at different points in the production process—from text to drawings to publication work, and then, to its adaptation in a time-based media—without being resolved within any one media.