minor/miracle, 2016, photogravure with chine-collé on Stonehenge, 27in x 27in
Grounded in the clouds and the dark edges of the frame, the window pitches forward in the upper right corner of the paper. There is a confusion between foreground, middle and background. The bottom of the window has been erased and roughly follows the bottom right corner of the fluorescent light reflection as it makes a V in the sky and presses into the white paper. Removing the bottom of the window took away buildings and a tree; context that would have helped in transforming this from a shape to a window in a wall. This is the only instance in which the frame of the window was disregarded. This decision points to a lightness and freedom that is not seen in the other two prints and also makes it the hardest image to read.
The reflection in the glass mimics the square shape of the paper and highlights the skewed angles of the window that appears to float in space. The bird seems to travel freely between foreground and background. Centered between the horizontal lines, just inside the square of fluorescent light, the bird flies across the left side of the window and off the paper along one of many vanishing points.
The square shape allows for all of the vanishing points to land just off of the edges of the paper—each edge pulling in a different direction. One edge, activating another. The square format does not adhere to either landscape or portrait, instead each edge has the potential to push equally into infinity.