< Software acknowledges and acquires the file.
< The file is manipulated into a private proprietary clone of itself.
< The clone is then converted into a continuous toned bitmap.
< Mathematical alignments convert the bitmap into a halftone.
I visited a workspace where raster image processing software is developed and perfected. I was granted access to explore the studio, open doors, and ask questions. The studio was organized and colorless. Expecting to document a vibrant laboratory with exotic machines, I searched for signals and areas that represent the inconclusive and vulnerable state of imagery.
Rubylith and Kodalith film was widely used by artists, designers and printers to designate space for information and imagery during many printing processes. The light-safe film, often referred to as a mask, was positioned on a plate to block or frame areas for images to be placed during reproduction printing.
In 2015, I was given a collection of found Rubylith and Kodalith masks. Confused by the rigidness and formal properties of these objects, I interpreted them as images, separated from an original purpose and absent of any former context.
I enlarged the masks in physical size and began analyzing them as formal boundaries or placeholders for space. Boundaries exist in many ways and function as points of access. Both moral and visual, a boundary has the ability to restrict and isolate, as well as protect and preserve. In regards to printing, redaction and how information is organized; I see these works as an attempt to question common interpretations of a boundary.