My relationship with photography is at times an uneasy one. I am at once awed and enchanted by its magic but also wearied and frightened by its power. I often find myself questioning my position within the medium. For many years as a commercial photographer I made carefully constructed still life images for my editorial and advertising clients. During that time, I transitioned from large format analog film to digital technologies. I now find myself in today’s information saturated world and grappling to find my own voice amid the din. Seeking new modes of image making, I instinctively turned my focus to the materials of the digital darkroom.

Residual Ink Drawings plays with the reclaimed ink from inkjet printers to point out one of the most basic premises of photography, that it is reproduction of something outside itself. I begin my process by collecting empty ink cartridges from various inkjet printers and then pour the unused ink directly onto photo rag paper, allowing the materials to take the lead in the forms they create. These unique drawings are then digitally reproduced (scanned and printed via an inkjet printer) and displayed side by side. The original source drawing is generated by systematic chance and is created directly from the materials themselves. The reproduction is a result of a deliberate mediated process and is a translation of photographic digital data. By combining these two distinct and usually incompatible modes of image making I aim to set up a tension between the two realities; the analog and the digital, the actual and the artifice. The inkjet print reproduction of the abstract original becomes a representation of the ink itself. I adhere to a system determined in part by myself, and in part by the manufacturer of the printer. Many of the used ink cartridges are gifted to me by fellow artists, bringing a communal aspect to the work.