I AM CAPTIVATED by all aspects of human existence: by the aesthetic beauty of everything I see; by people—how they think, and act; by my own person—my internal dialogue, my feelings, and my experiences. Even the mundane aspects of life intrigue me. I see the significance and the detail in so much of everything around me. This captivation is at the core of my body of work through image making and poetry, in prints, artists’ books, and paper objects. Focusing on the human experience, expressed through the layering of images and materials, my work presents a visual manifestation of my perspective of the world.

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Anything relating to the human experience, commonly understood as social, cultural, or political issues, is at the core of my work. For example, in works such as “Future Years,” “Australian Bush Fires,” and “Seas Rising,” I address climate change and the human impact on the earth. In “Kids These Days,” I focus on the prevalence of gun violence among schools in the United States. In another iteration of this work, “I’ve Got to Hand It to You,” I examine the complexities of race and individual expression. “Homeless” and “Steamed” address social class by showing how society looks upon people with situational disadvantages. In three related works, “Make It Up,” “My Thoughts V,” and “My Eyes Are Up Here,” I address beauty ideals that society places upon women. Finally, a work, “Back at Church,” addresses religion and its formative influences in childhood.

 

I am captivated by the intricacies of personal experience. As humans, the people we know the best are ourselves, and, in my work, I relay that notion through personal narrative. For instance, I make explicit my internal dialogue in the poetry I wrote and printed in the broadside series, “My Thoughts.” In works such as “I Don’t Want to Grow Up” or “Moments Like These,” I extend to the viewer my memories of moments shared with individuals important in my life. However, while I cannot speak for the personal experience, thoughts, and emotions of others, my work also strives for the universal capacity we all have for the human condition. The artist’s book “Cicatrices and Naevi” shares the impression that individuals hold of marks on their own bodies, which speaks to the universality of body representation and self-image. Works such as “To Preserve” or “Through the Years” are conceptually elusive, so that viewers can derive meaning unique to them in the context of their own experiences.

 

An important concept in the creation of my work is layering; I create work with many layers of understanding, in both the creative process and in what is expressed in the final form. Many of my pieces are created using a reductive method, where I carve and letterpress print linoleum layer by layer. I use this method because I can easily break down what I see as a potential image into layers of color. In this sense, the function of my mind effortlessly transitions into my practice, and viewers can understand how outside influences inspire me. In a similar way, my thoughts just as easily transform into writing. Because I can clearly envision how words might be incorporated into my work, I set and print metal type and layer the text with imagery.

 

I am fascinated by the form in which a work of art presents itself and its ability to draw response from the viewer. A single sheet broadside print catches the attention of the audience all at once. At first glance, all the information is present, prompting an immediate reaction. However, upon further consideration, the viewer may direct their attention toward individual detail; this allows for their reaction to further develop. Finally, they may look at it once more, their reaction fully formed based on the entirety of their experience. In my 3-D forms, such as artists’ books and paper objects, the sculptural aspect of these objects offers the audience an additional experience that is more tangible and tactile. In this format, the viewer can also experience the materiality of the work and understand the material in relation to the content. Artists’ books allow for an extended consumption of information, so that the viewer can experience the piece as an interactive journey.

 

Growing up engaged with craft materials like paper, scissors, tape, and drawing utensils, printmaking and assembling artists’ books and paper objects are the means of transferring my artistic upbringing into its professional capacity. Utilizing a Vandercook printing press, and materials such as sewing notions, book cloth, book board, wire, and paper, allow me to physically create work using my hands, once again experiencing the joy of my early creative expression. This also gives me a direct connection with history, keeping alive a craft that has been so important to human practice throughout the past. For this reason, the work I create is most always presented through the medium of paper; not only is it one of the most available materials around us, it also carries much historical weight. In thinking about paper as the material used in documentation, I created three works, “1956,” “Lucy Morgan’s Tiny House,” and “Phone Book.” These works were inspired by three different time periods in history expressed through design elements from each era.

 

Art is a form in which I can express my appreciation for the world around me. I see and understand things in a specific way, which I relay through image making and poetry. Prints, artists’ books, and paper objects are media in which my visions and concepts are best presented, and I am appreciative of the process and materials used in creating work through these mediums. My body of work presents ideas that many people engage with in their daily lives and is representational of the human experience. It is work intended to be interacted with and reflected upon by a broad audience, whether through galleries, publishing, or the internet. The purpose of my work is to visually present my perspective of human existence, showcase my passion for process and material, and to leave the viewer captivated as well.

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Roshelle Carlson