Naomi Larh

Printmaking can be performative; I move around paper, adding layers to transform line into space. My prints and videos are gestural, instinctive and rhizomatic; rippling from a drop of drawing that marks the moment a matrix is made. As trauma can imprint the psyche; loss itself becomes a rogue matrix that perpetually prints past over present. How can loss replace and form space? The process of artworking enables me to consider the vertiginous, nephophobic and precarious condition of consciousness.

Weightless, swimming or headless figures are multiplied and projected between haptic or tactile screens; coemerging and dissipating in fractal

clouds of copied surfaces.
Seeking palimpsestic patterns in-between vitality and abandonment; I view death and decay as fluid sites of rebirth and energy exchange. Temporal yet returning; loss is depicted as repetition. Glitches are accentuated as trenches of viscous time; calling to be replayed, reformed or redeathed in trance-like figurations.

Ereshkigal / Mono-screenprint on paper, 420 x 594mm, 2020

Refract / Mono-screenprint on paper, 420 x 594mm, 2019

Sourness / Mono-screenprint on paper, 420 x 594mm, 2020

Xloud Bears / Digital print, 2020

Splitting 3 & 2 / Gouache on rag paper, 2020

Paralell / Video, 2020 // Collaboration with Music by STANLÆY & Dance by Narna Hue & Grainne Young-Monaghan

The moon is a cog, we’re walking waters, exchanging through porous membranes, connected by fluvial nodes within and without, releasing and becoming. Across parallel rooms, rivers and rhythms; we explore our interrupted techno-connections. Our voices are distant transmissions; interrupted, glitched. Collaborative project involving sisters, streams, sippers and pixel screens.