The photographs in Prehistory are created as a kind of collaboration between mother and child. I work with my toddler son’s drawings, which at this point are more exercises in markmaking than drawings. I meticulously cut his scribbled marks out of the paper, and photograph the ephemeral sculptures that emerge. Within the process there is an oscillation between 2-dimensions and 3-dimensions, and the tension between preservation, destruction, and reconstruction. The resulting works explore a young child’s pre-representational markmaking, still firmly rooted in abstraction and driven by his kinetic urges. At the same time, these black & white photographs portray an artist clawing her way back to her creative practice after the hiatus of early motherhood.
The final output is pigment printing on rag paper, with a quality that belies its photographic origin; in person these prints evoke printmaking, drawing, or other forms of work on paper.