In the initial stages of image production, I’m reconstituting printer’s ink and pouring and pulling it across a smooth paper surface. This repetitive action and its ensuing forms connote the layering of present experiences over erased or invisible histories – palimpsests of viscera. Here, I’m merging photographs with the verso or negative image of a photographed drawing. These composite photographs resemble emulsive prints and other 19th-century photographic processes. Deviations from the original image, they challenge the primacy of the initial mark. Blurring boundaries between copy and the original, they diverge from the initial prototype in their digital manipulation and processing. An implied transition from the corporeal to the spiritual places the works within larger frameworks of inquiry.
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