Projects > composite stoke where

composite stoke where | digital offset prints with aggregated polyethylene covers | 2015 - 2016

A book registering the hybridity of Graceland Cemetery through photographs, scans, and poems. composite stoke where opts to only obliquely encounter Graceland's system of death representation and its primary organizational procedures of location and identification through plots and monuments. Instead, it focuses on other latent interactions between heterogeneous systems that are all functioning interdependently and thus inextricable from Graceland, though they are often obscured by or subsumed under Graceland's ostensible death-representing purpose. Such things include: forestry, the transatlantic legacies of both picturesque and botanic landscape architectures and their characterizations of humaness and naturalness, and the simultaneous presences of diverse and sometimes diverging managerial programming including funerals, Chicago Architecture Foundation tours, historic preservation, and park-like recreation.

The book’s format facilitates the possibility that a reader may also enact this categorical stoking as they encounter the book. The sequencing is tangential, not taxonomic, and the pages are tri-folding sheets that allow for re-combinatory comparison of the printed matter—one to six pages may be viewed simultaneously. This form resists spatial entrenchment of its information where pages are primed by their static neighbors and settle into stiff codification. Yet, as it is bound and not a folio, there remains a prescribed, if circumspectly, circulation through the book. There are repeated images, and every combinatory permutation is not available. Rather than use the crop of the photograph, scan, poem, or page to present and isolate discrete things speciously minted from their own immanent essence, difference is courted within the field of the crop—tenuous distinctions conflate and beckon recognition of obscured transmissions between purportedly disparate things.


Thanks to Luis Rodríguez Rosario and Sarah Knowles for teaching me the rudiments of inDesign.