Quadrifid, hand bound book work, digital and photogravure prints, 29.2 × 28.5 × 1 cm (closed), 28.5 × 27.7 cm (page), 2009
The digital technologies are used early on in the creation of the images.
Quadrifid, detail of accordion section, photogravure, 2009
And then the analogue methods re-assert themselves.
Quadrifid, detail of folio section, photogravure, 2009
This book work is an exploration of the four-colour separation plates.
Quadrifid, view from above of the two sections, 2009
The potential of the process lies not in the creation of a seamless colour reproduction but in the printing permutations that can deviate from the preconceived use of a colour-separation method.
Quadrifid, front cover, digital inkjet print on Epson Professional Luster Photo Paper over Eterno boards, 2009
I wanted to subvert the convention of information as text block and created a cover that is the most didactic element in the piece informing the viewer of the methods used to create the image.
Quadrifid, title page, digital inkjet print on kozo, 2009
Quadrifid means “divided or deeply cleft into four parts”.
Quadrifid, the cyan and yellow separation plates printed in black on kozo, photogravure, 28.5 × 27.7 cm (page), 2009
The cyan and yellow plates are printed in black.
Quadrifid, the magenta and black separation plates printed in black on kozo, photogravure, 28.5 × 27.7 cm (page), 2009
The magenta and black plates complete this spread.
Quadrifid, expanded view of the accordion section showing the four separation plates printed in black on kozo, photogravure, 2009
When the accordion section is expanded, it reveals the landscape created by the sequence.
Quadrifid, four-colour separation photogravure on Somerset, 28.5 × 27.7 cm (page), 2009
In this image, the colour logic is internal to the object and the process. Because I was engaged in a steep learning curve there were many failed attempts along the way. An issue that arose was the role of work ethic and time investment. I struggled with the perconception that newer technologies are faster or more economic and historical methods are inherently more labour-intensive.
Quadrifid, colophon page, digital inkjet print on Epson Professional Luster Photo Paper, 2009
My conclusion would be to refute that perspective as I have also been engaged in the learning curve of controlling digital printing, which has taken an equivalent investment of time and resources. In addition, a large part of the significance of this research is the process and therefore the labour must be valued.
Quadrifid, back cover, digital inkjet print on Epson Professional Luster Photo Paper over Eterno boards, 2009
The back cover of this work uses the same components as the front, but reorganizes them to create a new image, echoing the operation of the internal sections.