For the past fifteen years, I have used the technologies of mechanical and digital image reproduction as both a subject and a medium for artistic work. This practice has evolved from the simple use of photocopiers to produce collage ‘pictures’ into a more thorough and introspective examination of the structure and process of the machines that reproduce prints and also print reproductions.

Abstract technical schematics and amplified traces of technical malfunction served in many works as aesthetic keys illuminating the backstage mechanics of reproduction. At the same time, the opportunity to use found material led toward a greater interest in the role of reprography (the reproduction of graphic material) within the political and social orders of the world. The term “reprography” is important because it distinguishes an order of print technologies that deal with singular and preparatory printed material entirely distinct from multiple mass publication and fine art print editions.