annotations (2018), the final iteration of wax notes and footnote, takes screen shots of burn footage—from the 16mm film from wax notes re-spliced into a new analog version of itself onto an 18'x2' light table (Sept. 2017), and then digitized—as source images for acrylic paintings and monotypes. The process of printmaking documents the process of painting, so that the paint build-up of the canvas affects the print quality of the monotypes. The methodology of the film burn becomes one of chance and accident, reproducing the trace as an extraction rather than abstraction of function. Can a trace still be a trace if it is reproduced? What does it mean to essentialize? Remains and remainder become integral to the work. The residual is not something to discard, but rather something to seek, salvage, and cultivate. 


 i. animated monotypes, west wall (left). 

ii. digitized 16mm film from 18'x2' light table in wax notes (Sept 2017), west wall (right).