DeepMaster, referring to fake ‘master’ fingerprints, which can effectively fool smartphone sensors and other devices, draws connections to the limits of human singularity in the manipulation of our current tools. Taking cue from physical points of contact with technology, investigating the intersection of digital gestures and the materiality of surface, I constructed and deconstructed processes of image-making. Exploring how touch is modified and mediated by machines we questioned what meanings lie in our bodily interactions with ‘bodyless’ technology.
Through the lens of ‘tryk’, interpreted in its most basic sense of physical push, print or pressure, the work and processes in the show propose an enriched definition of images and their construction. I developed a series of large-scale lithographic works printed on various household fabrics, wallpapers, fiberglass, rubber mats; using a number of fingerprinting pattern forms and various gestures of painterly ‘contact’ as a starting point for each stone. Using a variety of experimental print methods and materials to explore the possibilities of the medium, based around stone, grease and water, I exploited the process’ sensitivity and reproduction of physical contact.