http://www.mnartists.org/artistHome.do?rid=114006 Artist http://www.mnartists.org/work.do?rid=299477 <a href="http://www.mnartists.org/work.do?rid=299477"><img src="http://www.mnartists.org/uploads/users/user_11981/38e3023326d6585a5f4bfe354e8f3d2c/38e3023326d6585a5f4bfe354e8f3d2c_scale_110_71.jpg" height="71" width="110" border="1" alt="Through Hollow Ground II" /></a><br/>&nbsp;<br/> Sun, 09 Oct 2011 02:04:35 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=299476 <a href="http://www.mnartists.org/work.do?rid=299476"><img src="http://www.mnartists.org/uploads/users/user_11981/6212ad7d88be5531bc9d9dcf948cd7bf/6212ad7d88be5531bc9d9dcf948cd7bf_scale_108_80.jpg" height="80" width="108" border="1" alt="Through Hollow Ground I" /></a><br/><br/> Sun, 09 Oct 2011 02:01:43 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243794 <a href="http://www.mnartists.org/work.do?rid=243794"><img src="http://www.mnartists.org/uploads/users/user_11981/c28ad309d44300bcc2114fafeb42de90/c28ad309d44300bcc2114fafeb42de90_scale_110_73.jpg" height="73" width="110" border="1" alt="Repeating, Repeating the Radius of it All" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 21:05:06 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243792 <a href="http://www.mnartists.org/work.do?rid=243792"><img src="http://www.mnartists.org/uploads/users/user_11981/1a9a029f8695112317493ae50128c26c/1a9a029f8695112317493ae50128c26c_scale_110_68.jpg" height="68" width="110" border="1" alt="The Other Side of the Island" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:59:26 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243791 <a href="http://www.mnartists.org/work.do?rid=243791"><img src="http://www.mnartists.org/uploads/users/user_11981/b852b1bc426502e89bfb6cf94706ce88/b852b1bc426502e89bfb6cf94706ce88_scale_110_58.jpg" height="58" width="110" border="1" alt="Double Illumination...a Sign on Fire" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:56:57 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243789 <a href="http://www.mnartists.org/work.do?rid=243789"><img src="http://www.mnartists.org/uploads/users/user_11981/2c84700cc287986f1a109c53e30466de/2c84700cc287986f1a109c53e30466de_scale_110_66.jpg" height="66" width="110" border="1" alt="Much Movement in Much Water" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:55:30 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243788 <a href="http://www.mnartists.org/work.do?rid=243788"><img src="http://www.mnartists.org/uploads/users/user_11981/9e75ccd6b43e9d076a9d9aa0ff58f307/9e75ccd6b43e9d076a9d9aa0ff58f307_scale_60_80.jpg" height="80" width="60" border="1" alt="To Grant a Lacking Status...From Those About to Disappear" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:54:04 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243787 <a href="http://www.mnartists.org/work.do?rid=243787"><img src="http://www.mnartists.org/uploads/users/user_11981/006145d8ead5fbdb8ce6ef701bea9efd/006145d8ead5fbdb8ce6ef701bea9efd_scale_110_57.jpg" height="57" width="110" border="1" alt="This to Parallel a Sudden Imitation" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:52:21 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243786 <a href="http://www.mnartists.org/work.do?rid=243786"><img src="http://www.mnartists.org/uploads/users/user_11981/c6ee836be4a4c8efd875d518cee0b246/c6ee836be4a4c8efd875d518cee0b246_scale_109_80.jpg" height="80" width="109" border="1" alt="Not to Protect Phenomenon but to Mislay Them" /></a><br/>[i]With a mark to grant you a lacking status. From things about to disappear. The testimony pre-exists the subject. Left-right separation pushing a program. I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas. In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events. Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation. In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres. These prints juxtapose fantasy with a reflection on actual events. Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:46:03 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243783 <a href="http://www.mnartists.org/work.do?rid=243783"><img src="http://www.mnartists.org/uploads/users/user_11981/53698a204481e079c7377ca084f7125f/53698a204481e079c7377ca084f7125f_scale_94_80.jpg" height="80" width="94" border="1" alt="Tableau of a Ghost City" /></a><br/>[i]With a mark to grant you a lacking status. From things about to disappear. The testimony pre-exists the subject. Left-right separation pushing a program. I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas. In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events. Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation. In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres. These prints juxtapose fantasy with a reflection on actual events. Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:38:28 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243781 <a href="http://www.mnartists.org/work.do?rid=243781"><img src="http://www.mnartists.org/uploads/users/user_11981/8251ba4b45dd95e022a95764539760bd/8251ba4b45dd95e022a95764539760bd_scale_110_79.jpg" height="79" width="110" border="1" alt="After the Empire" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:32:26 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243780 <a href="http://www.mnartists.org/work.do?rid=243780"><img src="http://www.mnartists.org/uploads/users/user_11981/ea24379c0bfed135e040d349884b1735/ea24379c0bfed135e040d349884b1735_scale_58_80.jpg" height="80" width="58" border="1" alt="Sequence of Explosions" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:30:56 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243776 <a href="http://www.mnartists.org/work.do?rid=243776"><img src="http://www.mnartists.org/uploads/users/user_11981/7be7903583e18e37bb4c5bf919802c82/7be7903583e18e37bb4c5bf919802c82_scale_52_80.jpg" height="80" width="52" border="1" alt="Over the Drained Lake" /></a><br/>[i]With a mark to grant you a lacking status.&nbsp; From things about to disappear.&nbsp; The testimony pre-exists the subject.&nbsp; Left-right separation pushing a program.&nbsp; I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas.&nbsp; In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events.&nbsp; Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation.&nbsp; In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres.&nbsp;&nbsp; These prints juxtapose fantasy with a reflection on actual events.&nbsp; Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.&nbsp;<br/> Mon, 14 Sep 2009 20:24:06 GMT Erik Waterkotte http://www.mnartists.org/work.do?rid=243773 <a href="http://www.mnartists.org/work.do?rid=243773"><img src="http://www.mnartists.org/uploads/users/user_11981/13fa6728e7c5f4615f69dd945ae26ea0/13fa6728e7c5f4615f69dd945ae26ea0_scale_76_80.jpg" height="80" width="76" border="1" alt="The Duration" /></a><br/>[i]With a mark to grant you a lacking status. From things about to disappear. The testimony pre-exists the subject. Left-right separation pushing a program. I have letters in a name because I continue.[/i] from Brief Capital of Disturbances by George Albon I am interested in examining how the popular media influences our perception of tragedy and disaster by constructing their own narratives and agendas. In these prints newspaper and internet images of disasters are combined with comic book imagery detailing destruction in order to create a fabricated space of fictitious and actual events. Through the printmaking process a layered space has been constructed by combining digital outputs with collagraph, etching, and collage. The commercial medium of print is made purposefully explicit in order to acknowledge the process of appropriation. In the prints halftone dot patterns appear exaggerated while more traditional print media, such as etching and collagraph, create embellished marks and atmospheres. These prints juxtapose fantasy with a reflection on actual events. Like the graphic world of comic books where day-to-day life is tempered with the destruction between heroes and villains, we are continually inundated with images of disasters that can rally against or be attributed to our own ideologies.<br/> Mon, 14 Sep 2009 20:18:55 GMT Erik Waterkotte