Plate 74,
Will Maw

Plate 88,
Will Maw

Origins of Exile, Part Four,
Will Maw

Plate 1,
Will Maw

Plate 24,
Will Maw

Plate 27,
Will Maw

Plate 75,
Will Maw

Plate 92,
Will Maw

Plate 94,
Will Maw

The Endless Loop,
Will Maw

The Meaning of Bad & Good,
Will Maw

This is England Part Two,
Will Maw

United State,
Will Maw

Witch Doctor's Curse, Part Three,
Will Maw

Yes and No,
Will Maw

Will Maw

Heavily influenced by my work as a printer, and reliant on an intricate and complex procedure of print technology, these large scale works aim to combine a wide variety of imagery in a medium that exploits the machinery of print through the immediacy of drawing. Made in simultaneous series the prints derive from the collage works in the Histoire Naturelle d'Impremerie Economique - an extensive collection of digital prints that use printed money as a ground, a visual model combining text, portaiture, mathematical geometries and the definitive image of printed value. The screenprinted work returns the image to the hand drawn mark; in a reversal of the conventions of print publishing, the editioned digital image is dismantled and recreadted in an interpretation of its original form. With a self conscious nod to the arts of medieval manuscripts and the historical legacy of the printer and copyist, the works teeter on the fine balance between visual recognition and legibility, the collision of multiple perspectives and simultaneous impression of contradictory images. The extremes of the drawing-in-print process is the diptych work 'Yes and No', the former where the images all exist in a partial and simultaneous state, the latter where the image has all but dissolved and the screen has returned to its initial blank state.