Caroline Macdonald is an Oxford/London-based printmaker. Her practice navigates the space between the physical and digital, where art history is fragmented and reimagined into new contemporaneous forms. Like a trompe-l'œil, her process can look entirely digital, in fact it is very carefully constructed using various analogue print techniques. She treats the museum like a garden, a site of cultivation, harvesting artifacts and imagery ripe for the picking to reflect on her personal history and our collective moment. Time jumps to reveal anxiety, fragments as we glimpse the immensity of digital time, and backward glances to grasp at something long forgotten or never known. Drawing, photography and painting begin the process, capturing fragments in galleries. Back in the studio, these are unravelled and reconstructed with digital and photographic technology. The final works are made using analogue print techniques.
Tension slides between the encounter with the scale of the work and the precarity of its materiality. Timelines fold; Baroque grandeur crumples and ancient forms disintegrate. Caroline uses the language of error; the slip and blur of the digital glitch to create chromatic fissures which dissolve the usual boundaries between past and present, object and image, physical and digital.
Caroline Macdonald is an Oxford/London-based printmaker. Her practice navigates the space between the physical and digital, where art history is fragmented and reimagined into new contemporaneous forms. Like a trompe-l'œil, her process can look entirely digital, in fact it is very carefully constructed using various analogue print techniques. She treats the museum like a garden, a site of cultivation, harvesting artifacts and imagery ripe for the picking to reflect on her personal history and our collective moment. Time jumps to reveal anxiety, fragments as we glimpse the immensity of digital time, and backward glances to grasp at something long forgotten or never known. Drawing, photography and painting begin the process, capturing fragments in galleries. Back in the studio, these are unravelled and reconstructed with digital and photographic technology. The final works are made using analogue print techniques.
Tension slides between the encounter with the scale of the work and the precarity of its materiality. Timelines fold; Baroque grandeur crumples and ancient forms disintegrate. Caroline uses the language of error; the slip and blur of the digital glitch to create chromatic fissures which dissolve the usual boundaries between past and present, object and image, physical and digital.
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