Residual Ink Drawings plays with reclaimed materials of the inkjet printing process to explore and test new modes of image making. I am interested in exploring methods of mark-making while extending the traditional parameters of photography.

I begin my process by collecting empty cartridges from various consumer and professional printers. I then repurpose the waste by either pouring the residual ink from the spent cartridges or stamping the ink-soaked felt pads from the printer’s reservoir tank directly onto photo rag paper, allowing the ink to freely seep into the paper. The resulting mono-prints or “drawings” of formless stains are then digitally reproduced and displayed alongside their photographic doppelgänger. By combine these two distinct and usually incompatible modes of image making, the spontaneous action and the deliberate mediated multiple, I aim to set up a tension between the two realities; the actual and the artifice. Aspects of chance and control are layered with concepts of process and materiality. The materiality and the appearance of the two prints are similar yet one is created directly from materials; the other is translated through photographic digital data. One IS something while the other is a representation OF something. As the ink blot imprints take on the characteristics of a Rorschach test, they point to the subjective interpretation of all representation.