For me, these have a deep spiritual connection to the dense, interconnected arrangement of random ephemera in my paper collages. I'm in love with the way they look, like an echo or some kind of visual déjà vu of older work

Phil then runs them again and again until there's nothing more to give. The first post of this thread are the remnants of layered ghosts from layered ghosts

here's a video of what it looks like to run these back and forth through the press:

If there's enough pigment leftover, he can run the plates again. Only this time, Phil layers multiple ghosts to create unique impressions where the translucent colors overlap and interact in unpredictable ways

I'm obsessed with this process, which starts by painting on a thin sheet of plastic that gets printed by Phil Sanders on his etching press in Asheville NC. Not only can he pull off a first impression, but a second run can yield a fainter but still fidelitous ghost impression

gonna keep on with the on and on

1st call was some nonsense from Allen Ginsberg (whom i love) but couldn't handle rn so our 2nd call was a cowboy song about cowboys who like other cowboys and are concerned about what other cowboys might think of that, so we stuck around with that one

holy shit

also, the angle of sunlight coming through our old bay windows becomes much more direct and intense in the winter (albeit for shorter periods of time) than in the summer when they barely get blasted (but the ambient lasts and lasts)

I would go as far as to say it’s actually an important trait to being a good artist, to have a firm sense of who and what you don’t like and what you don’t want to do.

and just look at the fractals in this leaf!

We found a bug that crashed the website, turned it into a horny tower of Babel and dubbed it "Hellthread".