This project is a blend of my interests in geology and printmaking, whereby I use the tools and methods of both to discern a past environment. Below is the scientific statement that I wrote that accompanies the piece and explains its form.
Interpretation of the Isopach Map of the Critique Wall of Drawing Room 176
Based on the data produced by the isopach map, this area shows a glimpse of the build-up of paint on the critique wall from the Drawing Room from a period of approximately 35-40 years ago to the present day. At the outermost section of the map, the paint is shallow and shows that the base of the critique wall is composed of what appears to be a cork matrix, suitable for pinning undergraduate level works in progress or assignments based on gesture or contour line. This is reinforced by the finding of a staple in the section, revealed under several layers of white paint, and perhaps left by a careless graduate student in a rush to document student work. Interestingly, this section also shows that at one time, the paint on this critique wall might also have been green. There is only a small indicator in this section; however, the next stratum also presents this green color, indicating that green paint was used, at least in this locality. It is not clear whether green was a local phenomenon or a paint color that traversed the entire landscape of the critique wall.
The uppermost layers reveal daily usage information, including scant pin marks across the surface and rough paint texture at the center of the isopach map, indicating a cost-effective paint was applied to the area again and again. This repeated layering tells much about the history of this particular critique wall; in effect, it’s rather unambiguous requirement to be reused without regard for the need of a new introduction of a cork layer into the record. By referencing the data that the map yields, it may be possible to look at the isopach map and read the depth of the deposits to come to a conclusion about the sediment source.