Reverb was inspired by the forest of symbols in Baudelaire’s Correspondences as well as its synaesthetic concepts.
| La Nature est un temple où de vivants piliers|
Laissent parfois sortir de confuses paroles;
L’homme y passe à travers des forêts de symboles
Qui l’observent avec des regards familiers.
| Nature is a temple where living colonnades|
Sometimes let escape confused words;
Man passes among symbolic glades
Which observe him with familiar regards.
| Comme de longs échos qui de loin se confondent|
Dans une ténébreuse et profonde unité,
Vaste comme la nuit et comme la clarté,
Les parfums, les couleurs et les sons se répondent.
| Like dwindling echoes gathered far away|
Into a tenebrous and profound unison,
Vast as the night and as the day,
The scents, the colors, and the sounds meet as one.
| Il est des parfums frais comme des chairs d’enfants,|
Doux comme les hautbois, verts comme les prairies,
–Et d’autres, corrompus, riches et triomphants,
| There are odors as fresh as the skin of an infant,|
Sweet as oboes, green as prairies,
–And others, corrupted, rich, and triumphant,
| Ayant l’expansion des choses infinies,|
Comme l’ambre, le musc, le benjoin, et l’encens,
Qui chantent les transports de l’esprit et des sens.
| Having the expansion of infinite things,|
Like amber, musk, benzoin, and frankincense,
Which sing the ecstasies of the soul and of the senses.
Synaesthesia is a condition in which one type of sensation evokes the sensation of another, as when the hearing of a sound produces the visualization of a color.
Each one of my prints carries a different tune for me, based on its size, its colors, and the marks upon its surface.
When I group them together, the tunes interweave and reverberate.
Reverb is structured much like a musical composition. Each print acts as a movement, using the same images of lichens, fungi, bark, and calligraphic writing as the basic melody with variations in media, palette, and complexity.
Most of the prints are two-sided and evolve through layers of gilding, printing, patinization, waxing, drawing, and scraping. I then allow each piece to finish itself as its wax and metal react to its environment, thus speaking to the action of nature on that which is man-made.