Printmaking is a queer art. Treated as a marginal practice. Once an imitation—the mode by which paintings or drawings were reproduced. Now a phase—touted as a respite from or an aid to more serious work. Multiplying images that are and are not the same, repetitions that should but might not be identical, printmakers act out the excess and the confusion of sameness and difference key to persisting cultural fantasies about queer persons.
Printmaking is my practice because it embraces the imitation and the phase, flirts with excess, questions sameness and difference, and lets me play—through shape, color, repetition, variation, and juxtaposition, with language, place, and histories.