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Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.

Installation Shots of my show “Ink Jetting: Cul de Sacs and Collaborations.” at LACDA, Los Angeles till Saturday Feb 2, 2013.


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Multiple pass inkjet prints (notes from Jan 2011)

For many years I been experimenting with making images on my Wide format inkjet printer without the use of a complex digital computer file (my usual mode of working). No sophisticated software, no filters, no blending modes, no computer manipulation just the transparency of the printers ink interacting as each new layer of ink is laid down one on top of another. I want to use the printer as a tool for making Art rather than a machine to output a complex digital image composed in the computer. Its counter-intuitive to do this, I mean why use a sophisticated expensive digital inkjet printer in such an unsophisticated way. The answer ( I think) is? To get closer to the point of inspiration and to make my process more intuitive & organic. The printer and I share the task of making the  images below together. It contributes the layers of transparent ink and I contribute the simple shapes.

A ‘multiple pass inkjet print’ represents one simple vector shape drawn in any computer program and run through a wide format inkjet printer approx 10 to 80 times*. Each time the paper goes through the printer I do something different to the shape. I allow myself to flip, duplicate, colorize, rotate, elongate or shrink the shape with each new pass through the printer. Only very basic changes that any computer novice could do - no use of sophisticated computer manipulation is allowed - Computer work for Luddites! In the early part of the process I am just trying to fill up the empty space. By about 10 passes some sort of pattern or image starts to show. Here I have to be careful not to impose myself on the image. I may see something that I could move towards but I try not to allow my aesthetic to impinge upon the mostly chance image. Even if i wanted to change the image consciously I only have a limited ability to do this with any precision. The placing/changing of a new shape for each new pass (printing) is only approximate as I am always manipulating the same shape so there is no saved road map of where i have been or how it relates to what is already there. I have very little idea of how the art will turn out, it just grows organically with each new pass. At some point I just stop the process and the piece is completed. Each piece represents about 5 -7 hours of actual printing time. Each resulting artwork is an original in the truest sense of the word. There is no final printable file to go back to just unrelated fragments that can never be repeated to form the same image again.

This is the only way to make these prints. Trying to layer all the passes on one image file can’t work as the file becomes overloaded with millions of lines and intersections and appears as just an unrecognizable blob on the screen. Even if I could see the image properly the file is too complex to be printable. 

All the following photos are not high quality just snaps of the resulting images from the process. They were shown at the ‘New & Improved’ Show, March 2011 LACDA, Los Angeles, CA.

*Please take note! Printing this way may ruin your printer, void your warranty and cause thousands of dollars of damage (as it did me). Printing heads can get knocked out of alignment and the print rollers can get covered in ink to the point it can’t be used to make normal clean prints anymore.

Cheers

Campbell

Artist Statement
My work explores the structural relationships between line, shape, texture and color. A blank sheet of paper is always the genesis, with each new element suggesting the next; in this way, an image is slowly developed over time into something complete and unique. I am inspired by organic elements and shapes, such as the Tasmanian bush, a tree branch, waves trailing from a boat or a mass of rocks but I am not interested in the literal rendering of objects or scenes. I observe then dismantle and finally rebuild. My medium of choice is water based archival pigment ink prints, in a similar way that Andy Warhol’s medium was silk screened prints. I have moved to this medium because the oil based paint and solvents I used in the past were environmentally unfriendly and i became very allergic to their toxic nature. It’s important for me as an Artist not to pollute the world that inspires my art. To this end, every element of my work - from the inks to the paper to the final varnish - is chosen with this thought in mind, without sacrificing the highest archival standards. I hand draw all my lines, shapes, scratches, distortions and textures into my printer’s software, then proof and print all pieces myself. My work occupies the space between hand made and digital. Software is used only as the means to realize the art as a printed work. My ultimate aim is to create deceptively simple, meditative works that hold and reward the viewer even after many viewings.

Selected Shows:

2012
LACDA Solo Show, December, LA, CA
Miami Basel, Red Dot Show, FA
Art Takes Times Square, NYC
LACDA Eighth Anniversary Retrospective, LA, CA
2Modern, CA
'Quiescent No. 5' on Showtime Series DEXTER. 
Pomp, Culver City, CA
Boom, Downtown, LA, CA


2011
'Moneyball' Movie, USA
Fab.com, NYC
Chain Letter Show, Shoshana Wayne Gallery @ Bergamot Station, Santa Monica, CA
Juried Book ‘International Survey 2011’ Front Cover
Quiescent no.1, Propel Water Ad, USA
Walton Issaccson, NYC, USA
PS 1 School, Santa Monica, CA
'Premier’s Disaster Relief Appeal' Queensland, Australia
2Modern, CA
Pomp, Culver City, CA
Boom, Downtown, LA, CA

2010
Orange County Center for Contemporary Art (OCCCA) Santa Ana, California “Santa Monica - The Art of Summer”
"Santa Monica" Art Book of SoCal Artists, Crussell Fine Arts.
'L. A. N D S C A P E S' LACDA, Downtown LA, CA
SHFT Gallery, ‘Recyled’ Downtown LA, CA
‘MOST WANTED’, Blue Core Gallery, Pomona Arts Colony, Pomona, CA
Little Red Art Show Benefit, NYC
Love Crush Art Show/AIGA, St Louis, MO
Pomp, Culver City, CA
Boom, Downtown LA, CA

2009
'New and Improved II' LACDA
'Digital Art Expo Los Angeles 2009' Juried Show curated by Rita Gonzalez of LACMA
Dwell on Design, Los Angeles, CA
Boys and Girls Club of Venice Gala Benefit, CA
HighPoint Show, Nth Carolina
Pomp, Culver City, CA
Boom, Downtown LA, CA
Chemers Gallery, CA
LAMDC, Boom, Downtown LA, CA

2008
Pomp, Culver City, CA
Boom, Downtown LA, CA
Culver City Artwalk, CA
The Art of Photography, CA, Juried Show curated by Neil Benezra of SFMOMA
New Media Expo, LACDA, CA, Juried Show curated by LACMA

2007
Loja Designs, CA
Venice Art Walk, CA
Boom, Culver City, CA
Pharmaka, CA
Sands Convention Center Las Vegas, NV
Cairns International Hotel, Australia
Acme Foundation, CA
The Art of Digital, San Diego, CA
Surtex, NYC

2006
Art + Industry, Palm Springs CA, solo
Boom, Culver City, CA
Recent Past Preservation Network, Arlington VA
Caravan, NYC
Beverly Hilton Hotel, permanent collection, CA
Small Wonders, Pharmaka Gallery, LA CA
Lord & Taylor Installation, PA, solo

2005
Twentieth, Hollywood CA, solo
Mixture, Kettner Nights, San Diego, CA
Small Wonders, Pharmaka Gallery, LA CA
Room Service, Hollywood, CA
LACDA, Downtown

2004
Dwell Home I, NC
I-20 Gallery, Chelsea, NYC
MOCA, Museum of Cartoon Art, Tribeca, NYC
Sublime American Design, Tribeca, NYC

2003
Michael Perez Gallery, Tribeca, NYC
Kristen Frederickson Gallery, NYC

2001
SPOTS Show, Society of Illustrators NYC

2000
Forbes Gallery, NYC
The Workbook Show, NYC
Society of Illustrators NYC

Partial Client List
SFMOMA, LACDA, Shoshana Wayne Gallery, Pharmaka, Estee Lauder, Clinique, Beverly Hilton, United Airlines, Berklee School of Music, 20th Century Fox, Boom Design, Pomp, Twentieth, The Dwell Home, Adobe, IKEA, teNeues Publishing, The Art Group, Macy’s, Cisco Systems, American Express, PeopleSoft, Room Service, Oracle, J Walter Thompson, Young & Rubicam, Circuit City Stores, Continental Airlines, New York Times, Washington Post, Time Custom Publishing, Newsweek, Fortune, New York Daily News, Los Angeles Times, Los Angeles Magazine, Business Week, Entertainment Weekly.


Awards
HOW International Design Annual
American Illustration
Society of Publication Designers
SPOTS Competition
ASBPE Award
UCDA Design Award
Computer Arts Magazine Profile



Selected Press/Publications:
Hemispheres  Magazine, 2004
Dwell Magazine, 2004
Modernism Magazine, 2005
Los Angeles Magazine, 2005
Mid West Home, 2005
Computer Arts Magazine Profile
Green Magazine, 2007
"Santa Monica" Art Book of SoCal Artists, Crussell Fine Arts, 2010
Juried Book ‘International Survey 2011’ Front Cover, 2011
Wired Magazine, 2012

TV/Film:
Dexter, Showtime
How the Devil Wears Prada FOX
Extreme Makeover: Home Edition: ABC
How I Met Your Mother, CBS
Las Vegas, NBC
Lakeview Terrace, Sub-Urban Productions
Cindy Crawford, Propel Water Ad, USA
Moneyball movie, USA

hand drawn vectors, multiple passes through inkjet.
campbell laird
untitled no.63, 2012
multiple pass inkjet print on canvas
40”x50”

hand drawn vectors, multiple passes through inkjet.

campbell laird

untitled no.63, 2012

multiple pass inkjet print on canvas

40”x50”

hand drawn vectors, multiple passes through inkjet.
campbell laird
untitled no.62, 2012
multiple pass inkjet print on canvas
40”x50”

hand drawn vectors, multiple passes through inkjet.

campbell laird

untitled no.62, 2012

multiple pass inkjet print on canvas

40”x50”

hand drawn vectors.
untitled no.24, 2010
multiple pass inkjet print on canvas
40”x50”

hand drawn vectors.

untitled no.24, 2010

multiple pass inkjet print on canvas

40”x50”

hand drawn vectors, multiple passes through inkjet.
campbell laird
untitled no.61, 2012
multiple pass inkjet print on canvas
40”x50”

hand drawn vectors, multiple passes through inkjet.

campbell laird

untitled no.61, 2012

multiple pass inkjet print on canvas

40”x50”

hand drawn vectors, multiple passes through inkjet.
campbell laird
untitled no.60, 2012
multiple pass inkjet print on canvas
40”x40”

hand drawn vectors, multiple passes through inkjet.

campbell laird

untitled no.60, 2012

multiple pass inkjet print on canvas

40”x40”

hand drawn vectors.
untitled no.20, 2010
multiple pass inkjet print on canvas
40”x50”

hand drawn vectors.

untitled no.20, 2010

multiple pass inkjet print on canvas

40”x50”

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