JC: Art

Prints and drawings by Jessica Cadwell
Jessica Cadwell
Digital Collage 4. Landscape 2. Made from distorting found imagery.
I’ve recently printed these collages as risographs, and I can’t wait to share them. This image in particular I’ve also screen printed and I’ll be sharing it soon!

Jessica Cadwell

Digital Collage 4. Landscape 2. Made from distorting found imagery.

I’ve recently printed these collages as risographs, and I can’t wait to share them. This image in particular I’ve also screen printed and I’ll be sharing it soon!

Jessica Cadwell:
Digital Collage 4. Landscape. 2014.
Got a few goodies printed from these collages, will be posting soon!

Jessica Cadwell:

Digital Collage 4. Landscape. 2014.

Got a few goodies printed from these collages, will be posting soon!

Jessica Cadwell
Photo Collage 3. 2014.

Jessica Cadwell

Photo Collage 3. 2014.

Jessica Cadwell:
Digital Collage 2. At Home. 2014. Distorted found imagery.

Jessica Cadwell:

Digital Collage 2. At Home. 2014. Distorted found imagery.

Digital Collage 1. 2014. Made by heavily distorting found imagery.

Digital Collage 1. 2014. Made by heavily distorting found imagery.

saic:

insidewithin:

I\W: What is your attraction to scanner distortions?

Alex Chitty: I started thinking about the scanner because it builds information additively. It doesn’t capture a moment, it captures time. For me it was this huge crossover between performance, in that it is the record of an act. I would hide in the library under a coat in the winter to do this. I had my laptop and a portable scanner, but I had to get it dark enough so I had the coat over my head. They are photographs that I use for the distortions, but they are found photographs. They are also like painting because I can take a photo and paint with that rather than paint with a pigment and achieve the same thing potentially. I love the mistranslation between analogue to digital. I can hold a scanner up to you and it won’t record you. It will invent a lot of information. Someone that knows you can look at it and know it is you. We don’t need all the information. I want to know how much of something can be revealed or left out and your brain will do the rest of the work. My scanner pieces are meant to be light and quick, and feel easy.

(Alex’s studio space is a culmination base camp, a bright studio where her many materials finally merge together. Although previously focused on scanner distortions, Alex has incorporated shelving-based installations through a similar method of additive information. Transitioning back and forth between the design of both the shelves and the objects they hold, Alex forms cohesive arrangements that distort the viewer’s observations of personal narrative.)

Alumni and Faculty work by Alex Chitty (MFA 2008)

One of my favorite professors at SAIC. I remember when she had us do a 20 minute scanning project, it really forced us to think on our feet. Results were quite great, I remember a classmate did a double sided copy where one side was scanned shoes and the other side a hat. It felt as if a person was standing on the flatbed and the paper served to compress that physical space in between the head and the feet. 20 minutes guys, 20 minutes.

Sharing a couple collage pieces printed for a larger screen print. These photo lithos are a further study of my original image from “Pillars”. Hope to share the completed piece soon!

"Purging". Screenprint 2014. Another example of building my own mythology, with the narrative of this print being about creation. The ill-defined borders assist with a sense of both structure and decay as the central figure shirks off a strange creature, but ultimately still remains tied to it. Maybe this is evolution, an abandonment of something more primal- but still the instincts remain.

"Purging". Screenprint 2014. Another example of building my own mythology, with the narrative of this print being about creation. The ill-defined borders assist with a sense of both structure and decay as the central figure shirks off a strange creature, but ultimately still remains tied to it. Maybe this is evolution, an abandonment of something more primal- but still the instincts remain.

Mythos. Screenprint 2014. An example of my style in mixing digital collaged elements along with hand drawn stencils. This print is a cousin to Fray in the Pen, expressing an animalistic desire of sexuality through what I imagine is my own created mythology. What could be seen as the overarching being appears withered and fragile, while hoards of gluttonous figures stand expectantly below.

Mythos. Screenprint 2014. An example of my style in mixing digital collaged elements along with hand drawn stencils. This print is a cousin to Fray in the Pen, expressing an animalistic desire of sexuality through what I imagine is my own created mythology. What could be seen as the overarching being appears withered and fragile, while hoards of gluttonous figures stand expectantly below.

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