Producing large-scale and often multiple-framed print works came about as a direct result of the work with the artist archive, and the smaller-scale collages. The correlation is obvious and visible, yet the socially critical aspect became much more pronounced in them once again. Like their smaller ‘relatives’, these big print compositions are using vintage imagery from the past, touching on universal themes of both political and individual nature that transgress past, present, and future.
It seems almost commonplace that we ought to ‘look back in history to understand the present’ to ‘learn the lessons from the past’. And that we ought to ‘understand where we come from’ as much as that ‘history repeats itself’, et cetera. In our digital age where physical libraries have virtually become obsolete and where we are highly attuned to the consumption of ever more current, momentous imagery from posted social media content, it can be of relevance to consider bygone images for the guide and semblance they offer, if not simply for their beauty, care and love for order and composition. It often is only with the distanced glance at lived moments that are not our own anymore that we are able to grasp problems, difficulties, and concepts directly affecting us by way of abstraction. Which is what many of these works invite the viewer to do.