JAY BURTON TRACY | Works on Paper
untitled #2305, 2005
thermogenic drawing mounted on museum board
5 1/4 x 3 3/4 inches | collection of the artist
5 1/4 x 3 3/4 inches | collection of the artist
untitled #2207, 2004
thermogenic drawing mounted on museum board
5 1/4 x 3 3/4 inches | collection of the artist
5 1/4 x 3 3/4 inches | collection of the artist
untitled #2342, 2005
double-exposed thermogenic drawing mounted on museum board
3 3/4 x 5 1/4 inches | private collection
3 3/4 x 5 1/4 inches | private collection
untitled #2226, 2004
thermogenic drawing mounted on museum board
5 1/4 x 3 3/4 inches | collection of the artist
5 1/4 x 3 3/4 inches | collection of the artist
untitled #2202, 2004
thermogenic drawing mounted on museum board
5 1/4 x 3 3/4 inches | collection of the artist
5 1/4 x 3 3/4 inches | collection of the artist
thermochemical change is the primary
catalyst in the facsimile series, a large series
of small works generated by selectively
applying transient heat gradients to
temperature-sensitive coated paper.
the chemical response of these receptive
surfaces to subtle and extreme change
in temperature yielded a wide variety
of distinctive visible marks. these marks—
literally superficial burns—function for
all practical purposes like fingerprints.
they manifest general typologies, but
their specific features cannot and
do not fully characterize their origin
(their author) nor do they disclose
or reveal all the circumstances
of their making.
as with the photograms and heliogenic
drawings, the blurring of the functions of
absence and presence (sign and signifier)
make these one-of-a-kind works a forensic
challenge to the referential systems we
use to construct private meaning—one
means through which we gain aesthetic
and logical closure in the world.
volume one of the facsimile series, which
originally consisted of 130 works, was
produced using a single ream of 50-year-
old facsimile office paper purchased
at auction from a seller in the UK. it was
the only vintage heat-sensitive, thermo-
fax stock i ever found that produced
satisfying results and also
held a latent image.
catalyst in the facsimile series, a large series
of small works generated by selectively
applying transient heat gradients to
temperature-sensitive coated paper.
the chemical response of these receptive
surfaces to subtle and extreme change
in temperature yielded a wide variety
of distinctive visible marks. these marks—
literally superficial burns—function for
all practical purposes like fingerprints.
they manifest general typologies, but
their specific features cannot and
do not fully characterize their origin
(their author) nor do they disclose
or reveal all the circumstances
of their making.
as with the photograms and heliogenic
drawings, the blurring of the functions of
absence and presence (sign and signifier)
make these one-of-a-kind works a forensic
challenge to the referential systems we
use to construct private meaning—one
means through which we gain aesthetic
and logical closure in the world.
volume one of the facsimile series, which
originally consisted of 130 works, was
produced using a single ream of 50-year-
old facsimile office paper purchased
at auction from a seller in the UK. it was
the only vintage heat-sensitive, thermo-
fax stock i ever found that produced
satisfying results and also
held a latent image.
west berger street studio (santa fe, new mexico)
