In a world economy, cultural changes are communicated quickly and can be originated anywhere on the globe. They can also move slowly and almost undetected to emerge as obvious. Both can be personally relevant. I believe in a pluralistic and inclusive process of object making. My work contains residue from the visual environment such as world events, archeological, economic, scientific and social developments. Of particular interest is chaos theory, in which slight change can lead to unknown results.
Small rumors or comments about companies or stock market can lead to loss of billions of dollars in valuation.
Characters or pictographs in Mandarin can be deconstructed into shapes just as the Hun are systematically destroying traditional Tibetan culture and language.
Evidence of one’s own presence are the marks or residue that is left behind. These marks are many times transient, deliberate, anonymous, personal,temporary, or convey a decision making process. Marks using color, shape, direction, size, and other cues to make relationships resulting in a metaphoric visual structure. I have been using printmaking as a means for mark making because it has both an immediate and gradual means of developing image content. The print as a metaphor for leaving evidence results in relationships with the process and final object. Making marks is immediate during the activity but printing produces just the evidence of the original action. This once removed image gives a quality to the object that implies reproduction but is also of the moment. Application of color has been central to enhancing these marks along with adding an additional layer of structural/emotive meaning. The vertical narrative formatted prints have recently led to using shaped, multiple plates to further explore interests in chaos relationships and social structure.
Ron Meick was born in Sidney, NE and received his BFA in Sculpture from RISD. He now lives and works in Arden, DE.