20" x 30" 100% rag paper. Inkjet prints transferred using specific solution/technique to achieve adhesion and reduction of paper support medium to deposit image. Found materials adhered to surface. Inkjet printed images and words adhered to surface of paper. Colored pencil, gouache, ink and other mixed media.
Subject matter– Images as pure pattern and decoration taken from the everyday news cycle. The central image sets the theme, The image is chosen for its original content, then evaluated for the manner in which it creates rhythm and color through alignment and position. The process of transferring the image to the paper has within it the element of chance. The adhesion of the central image is weaker in some areas and stronger in others creating a surface not unlike political or advertising posters pasted to walls of buildings. This appeals to me since it creates a dialog between the idea of a message/information of import while revealing an impermanence and entropy.
The smaller border images are also chosen for color/ pattern /rhythm. The content of the border is meant further inform/challenge meaning through support or contradiction of the central image.
I started thinking about living in the “ information age” and how information can just become noise when it overwhelms us. The initial motivation for the work came from thinking about the images that accompany news stories. These images are part of the daily news ‘cycle’. Theses images are reproduced both digitally and in print. They are distributed around the world and viewed millions of times, then through attrition, they are replaced by the next cycle. After a few weeks these stories are submerged by the onslaught of more ‘news’ information, and become more or less invisible.
We need to be able to process this sheer bulk of information in ways that render meaning and understanding, so it can be incorporated into creating short and long-term living strategies.
Otherwise, we are going to continue to drown in a never-ending avalanche of information and misinformation–unable to sort truth from lies.
As I completed the first few pieces I was struck by how the work reminded me of the tradition of stained glass windows. A purpose of stained glass windows was to create an other-worldly light that moved sensation from the physical to spiritual world. Another purpose was to provide individuals with information via a parable that could be used to help negotiate the secular world. I saw how psalters, illuminated manuscripts, gospel books, and mandalas, were used through history as methods to connect the secular with the spiritual – and as a path to meditation and understanding.
The work presents as a visually interesting composition to encourage a viewer to take time looking. There is a simplicity in the pattern that allows any number of interpretations.
The titles of each piece are a description in date, title or both. In an exhibition statement I would encourage viewers to take this information and, through libraries or online sources, answer some of the questions posed by the work.
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