Artist statement: My work ‘Bourgeois cha cha #4’ considers the invisible cultural and geographical architectures we inhabit, in particular environments where colonial erasure and national mythologies have failed to turn space into ‘place’ as Australia remains both ‘unsettling and unsettled’. The landscape as image in my work, operates as a transitory metaphor for the spectral and precarious state of the Australian environment. It exists in an interim state of ghost hood, revealing the entropic ruinous present of post-colonial violence. The UV digital print on acrylic forced onto the customised industrial pallet enforces the active distress of place hood as a post-colonial commodity in an intervening act of visual dis(repair).
Also known as Giclee prints or bubble-jet prints, pigment ink-jet prints are generated by computer printers from digital or scanned files using dye-based or pigment-based inks. A series of nozzles spray tiny droplets of ink onto the paper surface in a precise pattern that corresponds to the digital image file. In dye-based prints the ink soaks into the paper, whereas in pigment-based prints the ink rests and dries on top of the paper surface.
Whilst the term is broad, pigment ink-jet prints have come to be associated with prints produced on fine art papers. They are the most versatile and archival method of printing available to photographers today. A wide variety of material on which an image can be printed with such inks are available, including various textures and finishes such as matte photo paper, watercolour paper, cotton canvas or pre-coated canvas.
