Our Shot in the Big Dark
Series, 2025
Firemaking I, Risographs adhered to paper, 24” x 18”, 2025Firemaking I (Detail), Risographs adhered to paper, 24” x 18”, 2025Firemaking II, Risograph adhered to paper, 18” x 24”, 2025Firemaking II (Detail), Risograph adhered to paper, 18” x 24”, 2025!!!!! I, Risographs adhered to paper, 24” x 18”, 2025!!!!! II, Risographs adhered to paper, 24” x 18”, 2025!!!!! III, Risographs adhered to paper, 24” x 18”, 2025Our Shot in the Big Dark (Detail), Dye-sublimated polyester satin fabric adhered to paper, 24” x 27”, 2025Our Shot in the Big Dark, Dye-sublimated polyester satin fabric adhered to paper, 24” x 27”, 2025No Need To Crash (Low-lit detail), Dye-sublimated polyester satin fabric adhered to paper, 24” x 27”, 2025Deep Idling, Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Deep Idling (Detail), Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Deep Idling, Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025No Need To Crash, Dye-sublimated polyester satin fabric adhered to paper, 29 1/2” x 39 1/2”, 2025No Need To Crash (Detail), Dye-sublimated polyester satin fabric adhered to paper, 29 1/2” x 39 1/2”, 2025No Need To Crash (Detail), Dye-sublimated polyester satin fabric adhered to paper, 29 1/2” x 39 1/2”, 2025Perfect Snuff, Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Perfect Snuff (Detail), Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Perfect Snuff (Detail), Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Perfect Snuff, Dye-sublimated polyester satin fabric adhered to paper, 29 1/4” x 36 1/4”, 2025Laser-cut risographs and dye-sublimated satin are pieced together like quilts—their gridded structures barely containing a deluge of gradated stripes. Adhered to paper instead of fabric, these works draw equally from printmaking and textile rules, reinterpreted through digital fabrication processes. Wide margins on Rives BFK paper are finished with laser-cut deckled edges rather than the paper’s usual soft, natural deckle. In No Need To Crash, the digital deckle is exaggerated, as if the paper’s edge were viewed under a microscope. In Perfect Snuff, raised “blast” motifs along the border produce a trompe-l'œil effect reminiscent of trapunto quilting. Departing from the square grid, Deep Idling adopts a 1:2 ratio, referencing twill weaves.
The bridal satin’s reflective surface reads at times like rich, wet ink, and at others, almost holographic. Just as the satin reflects and refracts light, the works reflect on patterns of the mind, dwelling on the familiar yet inescapable loops of overthinking. The eponymous work, Our Shot in the Big Dark, resists minimalism, filling the surface with an overwhelming, chaotically arranged field of “blast” motifs. With its cheeky title, No Need To Crash takes this further, literalizing it with black, white, and colorful loops suspended across the surface. Through pattern and repetition, the series materializes rumination, giving visual form to the mind’s restless cycles.
Acknowledgement
This series was made possible through the support of the Institute for Electronic Arts at Alfred University in Alfred, NY. My sincere thanks to Brig Bogue and Myles Calvert for their generous assistance throughout the process.
Extras