Print
(new work coming soon...)
The invention and illusion of pictorial space has been important to both Eastern and Western art historical trajectories and has informed their interactions. There is an immense history of violence and displacement over the assigned meaning of a particular place or event. The landscape (whether architectural or natural) is powerfully symbolic as the recorder of these things.
The construction of space has become a symbol in my work that allows me to investigate and dissect other types of structures, namely the construction of memory (as meaning), an image as a representation of truth, and the tension between the sacred and profane. This body of work is an investigation into different places and events (both recorded and unrecorded, both public and private, both vast and intimate) and how our experiences of them are informed by their subjective meanings.
The way I print is very physical, and my relationship to the work begins with the challenge of printing a surface that is much larger than myself. These surfaces seem like a sort of collaged film still; the marks act as a record of speed and duration with an almost photographic range of greys. The process of constructing these images, however, is often confusing to the viewer because they first appear to be dense and sensual paintings. Upon closer examination their flatness (the evidence of screenprinting) is more apparent. This distance, this relative mediation, due to monoprinted layers, digital screenprints, and “failed” printing techniques, gives the surface a complication that allows me to articulate my conceptual concerns.
Jesikah Ruehle, 2008
The invention and illusion of pictorial space has been important to both Eastern and Western art historical trajectories and has informed their interactions. There is an immense history of violence and displacement over the assigned meaning of a particular place or event. The landscape (whether architectural or natural) is powerfully symbolic as the recorder of these things.
The construction of space has become a symbol in my work that allows me to investigate and dissect other types of structures, namely the construction of memory (as meaning), an image as a representation of truth, and the tension between the sacred and profane. This body of work is an investigation into different places and events (both recorded and unrecorded, both public and private, both vast and intimate) and how our experiences of them are informed by their subjective meanings.
The way I print is very physical, and my relationship to the work begins with the challenge of printing a surface that is much larger than myself. These surfaces seem like a sort of collaged film still; the marks act as a record of speed and duration with an almost photographic range of greys. The process of constructing these images, however, is often confusing to the viewer because they first appear to be dense and sensual paintings. Upon closer examination their flatness (the evidence of screenprinting) is more apparent. This distance, this relative mediation, due to monoprinted layers, digital screenprints, and “failed” printing techniques, gives the surface a complication that allows me to articulate my conceptual concerns.
Jesikah Ruehle, 2008
