My painting process often begins by using contemporary digital photography technology, either a camera, computer, or phone, to document lived experiences. In my latest series of works, paintings are initiated by photographic memories captured on my iPhone SE. Photos which have then been directly submitted to the misinterpretation of a hacked low-ink laser printer—a ludic process I found with print technology where the machine extension of human hands reaches its breaking point and seems to imitate human sensitivity: glitch printed results that recall watercolours, pencil drawings, and ancient frescos. After scanning, enlarging, reflecting, and reprinting the image, I have transferred the ink of the re-printed image with gesso paint onto canvas. With an intentionally imperfect image base, I have then painted over the photo-transferred surface using brushes, oil sticks, rags, squeegees, and my hands. Empirically restoring the space physically lived as an action symbolizing a memory’s mode of reconstruction between tensions of preserving history and creating a new future.
