tower (WOODEN BOX)
2021, UV Inkjet Print (StareReap 2.5 Print) on wooden plywood, 79.5 × 40 × 40 cm

I came to understand that what makes StareReap unique is its ability to recreate the granular gradations found in planar artwork, creating images as a seamless extension of these primary surfaces inherently imbued with the materiality of paint, ink, and paper as physical objects. Another distinction is how StareReap can be used to generate texture from truly flat, 2D sources. Whether photographic prints, digital images, advertisements, magazines, or other printed matter, StareReap can decipher images to “read” textures and even render fictive gradations where they did not originally exist. You could say that StareReap is almost an inverse of the sculptural relief techniques of antiquity, which sought to imprint work with the vestigial marks of space and circumstance. In this sense, perhaps StareReap is a new mode of relief for the modern age. From the perspective of ink weatherability, I think the technology might also allow us to toy with timelines. By making casts of artworks in certain mediums—such as drawings executed in color marker or collages of printed material—we could reframe their temporal scale. My collage work places an emphasis on the interpolations of disparate contexts, values, and timelines, along with the accretion of transitory moments and a sense of speed. As such, I’ve also deliberately sought to incorporate serendipitous drips of resin and plaster, particles of plaster powder, coffee stains, and runaway smears of my water-based pens, together with found printed material and readymade objects. I feel that all elements are in a constant state of fluid flux, so am perturbed by the common conception that time crystallizes when a piece of art is deemed complete. I believe that the variables surrounding a work’s formation change depending on the scope of its timescale.　―Teppei Kaneuji