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Sandwiches and Lost Cults

Viewer interaction – undefined space / distance in the works

Contemplative – taking time

Vagueness and blurring

Invitation to ‘read’ the artwork

Images as part of a sentence

Cinematic languages – tension and action being created

Illusion of a narrative – site specific / interior and exterior space

Time embedded in layering

Found objections

Thinking and then thinking again

Pulling images and materials through a process

What happens in seeing

The things that a person owns

Portrait or maybe a mask

Pictures like films that are stopped

What are the edges that we determine? Where do you draw the line? What are the lines?

Which touches change how your body looks


Old Man as subject

Drawing that looks like printing

Body to Machinery

Repetitive behaviour

Dealing with the surface of oneself

Dealing with the materiality of the substrate

Scanning – moire – light capture



One point persective

Visual inventory

Record of time in the growing of plants


Repetitive possibilities of print

Iron dust and materials that develop


Signifiers of war

How identity is connected to where you live, where you go

What happens when you didn’t grow up in place

“Times are hard for dreamers” – Amelie

Your breakfast is as disgusting as smoking

How politics makes us feel, how politics elicit destructive emotions

Printing fabric, political banners

Not so easy to define who is who

We are observers from all sides of our life

Printmaking conventions – editioning

Selfpublishing / risograph / animation

Computer as lightbox

Book making – comic strips

Ecological concerns v. Ecological brands

Space between genders

Biology may not be a true representation of us

Even love

Not actually solving problems

Achievements / success

Translation at mis-reading

Artwork as tribute




Making business cards for everyone else

Dissemination – things that can be taken away

Phone as interface


Wisdom is broken – wisdom is not possible

We step on women – women walk a thin line

Looking past and forward

Photos of non-visible thoughts /  emotions

Collections and archives – plastic bags

Object v image

The explosion

Post-explosion – something happened, found remnants

Used to make stories and associations

Accumulation of all our experiences

Relationships and networks of people

Exploded television

Printing on found materials – found on found

“Some media are disappearing”

Sandwiches and lost cults

Jean jackets

The zoom

Pixels of something

Working with couples

The moon changing us

Back to the system

Self-made fake

Esoteric world views


Astrology and Tarot

Gallery as aquarium

Growing crystals

Nature and magic

Slike and soap-cutting – Auto Sensory Meridian Response

Sending print to commercial prints

3D – 2D – 3D

Reusing – Rationality


Ciara Phillip’s notes from the first day of her printing class “A Brand-new edition”.




  • 18 July 2018
by Chloe Stead
Chloe Stead
Chloe Stead is a writer and critic based in Berlin. Her criticism has been published by frieze, frieze d/e, Spike Art Quarterly, Sleek, Art + Australia and AnOther Magazine. Her fiction was featured most recently in Pfeil Magazine #8, published by Montez Press. She holds a BA from Goldsmiths University of London and an MA from the Hochschule für Bildende Künste Hamburg.

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