In SVFK’s Graphic Print Workshop, Sarah McNulty has been developing a series of large-scale lithographic works while using different types of ‘contact’ as starting points such as fingerprinting pattern forms.
Sarah McNulty’s large-scale lithographic works were printed on various materials such as fabrics, wallpapers, glass felt, and rubber mats. She used a number of fingerprinting pattern forms and various gestures of painterly ‘contact’ as a starting point.
McNulty has been developing images on nine lithographic stones with a variety of experimental methods and materials to explore the possibilities of the medium.
Taking cues from physical points of contact, McNulty has been investigating the intersection of digital gestures and the materiality of surface. She has been developing works to construct and deconstruct processes of image-making for an upcoming exhibition at Danske Grafikere alongside Flore Nové-Josserand (FR).
DeepMaster refers to fake ‘master prints’ which can effectively fool scanners. It draws connections to the limits of human singularity in the manipulation of our current tools. Through the lens of ‘tryk’ – interpreted in its most basic sense of physical push, print or pressure – the work and processes propose an enriched definition of images, and their development, in an oversaturated visual climate.