Caroline Macdonald
Caroline Macdonald explores objects, places and stories from antiquity and art history found in Oxford and London museums. She deconstructs and reconstructs items or scenes from these collections in novel ways. This becomes a means of dealing with her personal past and the anxieties of our moment in history. Bringing together different generations of print technology, she uses marbling, glitches, and folds in her work to take advantage of chance marks and disruptive patterning. In technology, the glitch is an error which reveals the fallibility of a system. The digital glitch and folding in Caroline’s work creates a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. The error, glitch and fold create new boundaries, where the usual distinctions between inside and outside blur and intertwine. She offers different ways to look at history with a hope of regenerating new meanings. Most recently Caroline has been focusing on granularity, global scale and fragmentation. By taking momentary technological glitches through a halftone CMKY screen print technique she slows down time and renders the familiar strange.
Caroline Macdonald explores objects, places and stories from antiquity and art history found in Oxford and London museums. She deconstructs and reconstructs items or scenes from these collections in novel ways. This becomes a means of dealing with her personal past and the anxieties of our moment in history. Bringing together different generations of print technology, she uses marbling, glitches, and folds in her work to take advantage of chance marks and disruptive patterning. In technology, the glitch is an error which reveals the fallibility of a system. The digital glitch and folding in Caroline’s work creates a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. The error, glitch and fold create new boundaries, where the usual distinctions between inside and outside blur and intertwine. She offers different ways to look at history with a hope of regenerating new meanings. Most recently Caroline has been focusing on granularity, global scale and fragmentation. By taking momentary technological glitches through a halftone CMKY screen print technique she slows down time and renders the familiar strange.
Caroline Macdonald explores objects, places and stories from antiquity and art history found in Oxford and London museums. She deconstructs and reconstructs items or scenes from these collections in novel ways. This becomes a means of dealing with her personal past and the anxieties of our moment in history. Bringing together different generations of print technology, she uses marbling, glitches, and folds in her work to take advantage of chance marks and disruptive patterning. In technology, the glitch is an error which reveals the fallibility of a system. The digital glitch and folding in Caroline’s work creates a fragmented patterning lending surfaces a resistance to easy translation, inviting multiple readings. The error, glitch and fold create new boundaries, where the usual distinctions between inside and outside blur and intertwine. She offers different ways to look at history with a hope of regenerating new meanings. Most recently Caroline has been focusing on granularity, global scale and fragmentation. By taking momentary technological glitches through a halftone CMKY screen print technique she slows down time and renders the familiar strange.
