Key words; Multiple, plurality, creativity, self-expression, community, social media
Plurality and Eclecticism: My print or yours? Or ours?
Social media dominate the exchange of images, but I believe in the artist’s prints as a strategy for social engagement drawing on the dynamic between a personal vision and the collective. This forces a dilemma: Whose print is it, anyway, then? My own self-expression does not disappear with the Ultimate Socially Engaged Print. It extends the definition of the print.
Working through site oriented print collaborations calling on a widespread creative, intellectual, gastronomic and scientific network of experts. Print interventions open creativity in an advanced technocratic and urban society intended to reveal the dynamics and structures of a late capitalistic society and ‘to develop the architectonics of a utopian space of creativity in an increasingly computerised society’ (De Zegher, 2001:19). At Victoria and Albert Museum a 7-meter-long scented scroll 200+ participants printed using plants, herbs, and spices. Working internationally in a multiple of spaces, from museums to the streets I have produced, together with the public, wall-hangings, and 33-meter-long scrolls. I work in hospitals producing fanzines, limited edition cookbooks were written and illustrated by myself, patients, staff, and doctors, we will print on a hospital garden shed turning it into a giant cyanotype sun print. Print enables a poetic and expressive form which holds many parts and people together exchanging ideas and discoveries. Yet, my ego hangs in the balance. I cannot claim most of the images to be my own. Only the ones I develop by myself, in my studio, I sign. Creativity and the handmade print used in an advanced technocratic and urban society raise questions regarding the relationship between a fully automated environment and expression. If the non-artist could be creative in the formation of their own life, the need to make art or images for a gallery would disappear. Print belongs to everyone.