printmaking is the earliest form of mass media production. as such, a high level of control and predictability is desirable when working in the medium. in the digital age, where reproduction is easier than it has ever been, printmaking no longer serves the same purpose it once had. instead I look at printmaking as another step to create unique works of art, rather than one work in an edition. taking Paul Virilio's theory of the accident (and then repurposing it for my own means), all technological advancements are created with the potential for an accident. as a printing press can create several perfect, clean editions, it can also create misprints. the accidental potential will always exist. my newer works I've been using cardboard food cartons for printing plates, which allows for a greater range of imperfection from print to print, due to their fragile nature. similarly to Brian Eno's thoughts on sound artifacts in music, or Hito Steyerl's essay Defense of The Poor Image, sometimes it is the artifacts leftover from the process that is the appeal of the process. these marks tell the story of creation and of where the object has been. through relinquishing control and making room for errors, I can fully appreciate printmaking as an artform.