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Lithography involves a series of laborious and often frustrating steps that magically result in a series of prints. The quality of these prints depends on the experience of the printer and their ability to deal with any unexpected problems that occur during the process. In traditional lithography, an artist draws or transfers images onto a smooth block of limestone.
The drawing materials used are primarily composed of grease, which sinks in to the porous surface of the stone. Once the image is fully drawn a series of steps are taken to “etch” or burn the image into the stone’s “memory”. Gum arabic and nitric acid drops are painted onto the stone according to the images value. The darker the image the more acid you need to preserve it. Once this step is complete the stone must rest for eight hours. After this waiting period the image is completely washed away using powerful solvents. At this point the defining characteristics of lithography take effect.
The stone is kept wet using a sponge while a roller rolls in ink. The stone accepts ink based on the previously drawn image as long as the image was properly “etched”.
For this body of work I decided to substitute my own stomach acid for nitric acid during the etching process. In order to do this I had to vomit onto the stone instead of paint on the gum arabic and Nitric acid mix. First I had to consume a decent amount of gum arabic, which will act as a base for my stomach acid. This process is harmless, aside form the obvious problems associated with vomiting.
This work involves a number of concepts relating to the idea of abjection, as introduced by Julia Kristeva (Powers of Horror). Abjection refers to human reaction as a result of the breakdown of meaning. We are reminded of our own materiality when faced with something that breaks down the distinction between our selves and others, in this case abject fluid such as piss, shit and vomit. Kristeva also defines both symbolic and Semiotic domains of consciousness based on the principles of Abjection. To become a subject in the symbolic realm it is necessary to reject/abject that which gave us our existence.
I am very aware of the work of Paul McCarthy and Vito Acconci and how their approach to art making informed this series of prints. In the case of McCarthy’s Black and White Tapes the artist uses his body to manipulate visceral material, drawing attention to the concept of Abjection as well as minimalism. Vito Aconcci’s 1970 performance Kiss-Off incorporates many concepts that I am interested in. The piece involved a performance in which Aconcci wore lipstick and kissed himself repeatedly. Following this exercise he kissed the surface of a Litho print that documented the performance. I particularly enjoy this piece since it recontextualizes the audiences experience with printed material.
The vomit etch project encouraged me to explore other innovative printing techniques that expand upon the traditional role of the print maker.
