I became familiar with Brandi’s work when I was at SGCI 2016, she recently graduated with an MFA in Print Media at Pacific Northwest College of Art. In no particular order, she thinks of herself as a teacher, photographer, printmaker and poet. Her work is dependent on time, light, and language and she often questions what is gained and what is lost in this reliance
after coffee
photolithography with screen print on Somerset
15 in x 22 in
under over pass
photolithography with screen print on Somerset
These photolitho and screen print combinations marked the beginning of Kruse’s use of photography and traditional print techniques. With an interest in light, shadow and architecture, she began eliminating photographic information in her photolitho plates and adding information back in by screen printing washes of color and windows of gloss varnish.
These prints came just before her newest work in which she preserves a moment, printed in photogravure, that floats freely in a field of white. These prints are full of space and nearly empty. Her work is not really about architecture or windows; it is about using existing structures as an investigation into time, vulnerability, expectations and space.
constant/variable
photogravure with gampi chine-collé on Stonehenge
25 in x 37 in
light/weight
photogravure on Somerset
11 in x 14 in
These prints are from an ongoing body of photogravure work in which windows act as framing devices for moments that seem to compress time and space, that slow the pace, allow for vulnerability, and remind her of the beauty of disruption. There is tension here between presence and erasure, past and potential, the tangible and the imagination, the written and the reader.
andulkaphoto
vaporwave
2087
