Find Me in The Fine Print , 2025
Relief print
62 3/8" x 29 1/4"
Copyright The Artist
All matrixes are inked relief and printed on an etching press. Each print went through the press 8-14 times and had 14-20 colors with more colors achieved through layering and...
All matrixes are inked relief and printed on an etching press. Each print went through the press 8-14 times and had 14-20 colors with more colors achieved through layering and transparency. Fields of color are initially rolled onto a large magnetic matrix and then printed. Each shape, mark, figure, mountain, etc. layered on top is an individual magnetic relief plate that is hand inked before each trip through the press. Sometimes textures created by Nina are rolled onto the relief plates (the fish for example).
Find Me in the Fine Print is a blazing indictment—disguised as a game. A visual word search rendered in neon, layered letterforms camouflage the names Dupont and Denka, two companies long associated with the toxic legacy of Cancer Alley. Beneath and between the letters, oil rigs rise like scaffolding of denial, and black flames lick across the surface as if the entire image is smoldering from within.At first glance, the piece is playful—inviting the viewer to search, decode, participate. But that invitation quickly turns on itself. The joke is bitter: the harm is right there, in bold capital letters, but we’ve been trained not to see it. Like a chemical disclosure buried in legal jargon. Like a carcinogen listed in paragraph 14, clause 3. It’s all in the fine print.The text doesn’t just obscure—it overwhelms. The bright, candy-colored palette recalls product packaging, safety signage, even children’s learning tools. It’s absurd how good this disaster looks. How legible the names are if you already know where to look. The companies aren’t hidden—they’re embedded, normalized, made part of the visual noise.Find Me in the Fine Print doesn’t offer answers. It stages the harm the way the companies do: with cheerful design, orderly form, and plausible deniability. The disaster is here. The fire has already started.And the names are still right there—just small enough to miss, hidden in plain sight, spelled out by systems that insist on their innocence.
Find Me in the Fine Print is a blazing indictment—disguised as a game. A visual word search rendered in neon, layered letterforms camouflage the names Dupont and Denka, two companies long associated with the toxic legacy of Cancer Alley. Beneath and between the letters, oil rigs rise like scaffolding of denial, and black flames lick across the surface as if the entire image is smoldering from within.At first glance, the piece is playful—inviting the viewer to search, decode, participate. But that invitation quickly turns on itself. The joke is bitter: the harm is right there, in bold capital letters, but we’ve been trained not to see it. Like a chemical disclosure buried in legal jargon. Like a carcinogen listed in paragraph 14, clause 3. It’s all in the fine print.The text doesn’t just obscure—it overwhelms. The bright, candy-colored palette recalls product packaging, safety signage, even children’s learning tools. It’s absurd how good this disaster looks. How legible the names are if you already know where to look. The companies aren’t hidden—they’re embedded, normalized, made part of the visual noise.Find Me in the Fine Print doesn’t offer answers. It stages the harm the way the companies do: with cheerful design, orderly form, and plausible deniability. The disaster is here. The fire has already started.And the names are still right there—just small enough to miss, hidden in plain sight, spelled out by systems that insist on their innocence.
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