Favourable Signals / Pen on paper / 9 inches x 12 inches / 2024
Plotter drawing that combines vectors from seven different photographs. Each vector was constructed from a photograph taken in Philadelphia, Montreal, or Toronto. The layering occurred on the page, as the programs were sent to the drawing machine one after another.
A smattering of some early drawings.
<p> / Gel Pen, Cut Paper, Photocopy on Paper + Transparency / 9 in x 12 in
/ Gel Pen, Photocopy on Paper + Transparency / 8.5 in x 11 in
After producing a bevy of plotter drawings, I began to experiment with (re)combination. Each of the above combines a photocopy of a pen drawing, whereas the bottom sheet is an original. This, as the next 'step' in the plotter drawings, further bucks the notion of the aura-ed 'original image.'
Telephone! / Gel pen, pencil, pencil crayon, and grease pencil on paper / 9 inches x 12 inches / 2024
This drawing began its life as a monocolour telephone vector, drawn for an abandoned project. The drawing was executed in a single continuous session by the plotter while I swapped out materials (and held the backs of them to make rougher/shorter and shorter/ longer lines).
This image's relative simplicity has lead to it being the subject of many material tests and explorations in the studio.
Mind-Ware II / Pencil on Paper / 9 in x 12 in
Attempts to integrate pencils into the plotter drawings. It allows for a further blurring of the distinction between machine and human mark-making.
Pen, marker, and pencil on paper / 8 inches x 10 inches / 2024
The plotter is, to the architect, a ruthlessly mechanical and impersonal device. This drawing attempts to invert this assumption with the abundance of incorrect inputs and child-like drawing. This was heavily inspired by Harold Cohen's pencil crayon drawings.
Archival ink landscape drawings.
Circuit Rope / Pen, Pencil Crayon on Paper / 9 in x 12 in
Worker's Paradise / Pen, Marker on Paper / 9 in x 12 in
Attempts at layering and texture. And purple.