Traces of modernity, describes in duality a notion of time passing, an historic distance, etched on the zinc or steel plate on which the image sits, as much as upon the concrete itself. I’m interested in what happens within the work; such as the wear and tear, the patina of a building, the unclear ideals considered more often out of context, and my subjection of the plate to the spoil bite, the serendipity the chance and the accident, as the image survives as a piece of neutral propaganda, an oxymoron, with the acid corroding the steel or zinc plate as one strategy to sustain this piss on concrete, the intaglio creating darkness and beauty, a melancholia or an ability to survive despite all, and to leave the spectator to unravel in a creative space, the possibilities and failures that the surviving image struggles to claim.
