October Bromfield Show Teaser

I’m scheduling a show at Bromfield Gallery in October, and it’s gonna be pretty conceptual. If anything sells, I’ll be pretty impressed. I don’t want to give away the goods too soon, so I’ll merely post a couple of teaser images as things start to assemble. The first one is this lovely thing:


And the next is this interesting example of exactly how much postage it takes to ship 6 kg of stuff from The Netherlands.


Further bulletins as events warrant.

Two New Prints: “Fovea” and a Name Too Long to be Tweeted

The end of another semester, one started out with a rash of missed classes because of crazy winter weather, but slowly managed to unfold into a pretty successful time, if stressful. So to celebrate the end, and to enjoy a nice clean press room thanks to my Extension School students, I ran a couple of projects, both of which had been simmering on the back burner for some time.

The first is the print “Fovea”. This is a three-color letterpress piece done on Lettra 220#. A fovea is the central portion of the human retina, where the photoreceptors crowd very close together to give you detail color vision. This is a representation of the pattern of color-sensitive cones as they cluster in the fovea:


There are three types of cones in the human visual system, the L, M and S cones, also known as the red, green and blue cones. However, it’s not so simple as that; for each of the cones I’ve used an ink color that closely resembles the color that elicits the peak response for that cone. So the red and green cones are close together in peak sensitivity, at yellow-green and green (technically, 564 and 534 nanometers), while the blue cone is offset quite a bit, at a blue tinged with purple (420 nanometers). Also note how there are lots of M and L cones in the fovea but much fewer S cones, and none at all in the very center. That’s because the human eye uses blue light strictly for color information and not for detail. This print is editioned in a set of 116, and is for sale for $150 each.

The second print has a very long title, because the image is a somewhat opaque scribbly-looking circular pattern and I wanted to lard the title with as much information as possible:


As you may see in the image, the title is “Change in the offset of the Earth’s axis of rotation from the geoid origin point, from the birth date of the artist through early May 2015″. You may or may not have known this, but the axis of the Earth’s rotation is not fixed in space, it wobbles around and points in slightly different directions over time. There exists a scientific agency dedicated to following this wobble, as it has ramifications for leap seconds, GPS, navigation, core studies, earthquake analysis, and other earth sciences. I was able to get the (x,y) grid data for the location of the axis from 27 November 1971 through May 2015 and turn it into this into a circular scribble, with the geoid reference point for the “north pole” indicated by the +0 located on the bottom of the print. The motion of the rotational axis is affected by seasonal changes, ice cap capacity, magma currents in the mantle, convection currents in the core, and interactions with other planets and the Sun. It is interesting to note that while this wobble does have a random component, it exhibits a regularity over a 14-month period.

This is also printed on Lettra 220#, for a nice deep emboss, and is editioned in 52 copies. These are for sale for $150.

Austin Urban Icosacomposites: Finally Posted

Well, it took me a while, but it’s been kinda busy. I’ve been teaching my Extension School letterpress class at Harvard, printing editions, working the day job, and slowly assembling a letterpress cooperative. But last night I finally rendered the icosacomposite videos! I was hoping for three, but I only got footage for two. One is where the hike and bike trail ascends from Cesar Chavez St to the Lamar St pedestrian bridge, and features the former Seaholm powerplant with its iconographic “City of Austin” art deco lettering, joggers, traffic, cranes, and plenty of construction noise. The other is at the corner of 24th and Guadelupe, the heart of The Drag at the University of Texas, during the rush to get to the first class of the day. Enjoy!



Trip to Austin, New Icosacomposites

Jut a quick blurb, last week I was in Austin visiting the folks, and took the opportunity to shoot two icosacomposites. The first hopefully will blend construction, traffic and jogging as some quintessential Austin movements for this particular era; the second caught crowds of students on their way to 9:30 class at the University of Texas. I haven’t processed the videos yet, but here are some shots of the process.

CranePic UT-Pic

Pictures from My Trip to inde/jacobs in Marfa, TX

Earlier this week I ventured forth to Marfa, Texas, home of the Chinati Foundation and the Judd Foundation. I met with my gallerist at inde/jacobs gallery, checking out the new gallery space and dropping off some of the shipping container prints I did last year. It was a great time! The new gallery is lovely, and if you’re ever out in the wilds of West Texas, do think to drop by.

Here’s a gallery of images I took while there:

Residency Show: “Layers of Abstraction”

Just hung my show at Cape Cod Community College’s Higgins Art Gallery, as the start of my artist’s residency there. Here’s the show card:

Show-PosterAlas, the reception is in the afternoon, so students can attend, so those who work will have to sneak by the college during off-hours. I’ll post a comprehensive set of images later, but for now, here’s a little gallery of shots:

Quick Shot of a New Linguistic Letterpress Piece

Here’s a quick cellphone shot of my new letterpress piece, “The Sounds of English”:


The gray line in the middle represents all of the sounds used in the English language as coded through the International Phonetic Alphabet. The top and bottom lines, the title of the piece in the IPA and in English orthography, are supposed to be 342 green, but the color didn’t really come through. The 26 letters we use in the alphabet that may or may not correspond to any particular speech sound are embossed behind the IPA symbols, but that particular detail is even harder to see here.

I’ll edition these on Sunday, and will get a better shot then, but I figured I’d post this now.

Broadside for Seamus Heaney Suite at Adams House

Snapshot of the broadside I ran for the founding of the Seamus Heaney suite at the Adams House residence hall at Harvard. Heaney, an Irish poet, was a well-known guest at the House during the 80s and 90s, and his favorite suite is being outfitted in memory of his visits.