Milan Koerner-Safrata


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   Infinite State Machine
 @    milanimalism
   milan@scrnprnt.ca


  • b. 1993, Vancouver, Canada
  • Multimedia artist and designer
    of playful cybernetics




Copperplate

2020, Aquatint


            Etching, Printmaking

 I was fortunate to live near Shoestring Press, a small yet excellently equipped printmaking studio in Brooklyn.  At this time my imagery was informed by working remotely, spending innumerable hours at a screen in environments bright, sterile, dissociative. Common motifs were likewise denuded bodies, dilapidating, set againt a bed of tone and texture.  Achieving the rich, warm tone of aquatint was as alluring to me as it was frustrating. Some combination of an uneven coating of rosin and incorrect heating ruined many plates. Despite this I appreciate copper’s indelible memory. It records every blemish and blunder, I have never used such an unforgiving medium. Accordingly my process was more akin to corrosion than printmaking.

Beyond the dance of acid baths, heat plates, and rosin boxes, printmaking directed me to look at the work as an artifact. Printmaking is inherently a second-order process, an epiphenomen, the forensic trace of some cut. Despite my best attempts to make images, the minute ephemera governing them were ultimately the most dramatic force in my composition. Each print I made also recorded fluid dynamics, heat transfer, particle distribution. Thus Shoestring was my little laboratory, and helped to develop my interest in artmaking via the conceit of science.