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Mark Stritzel

Much of my work over the years has been informed by meanings produced within alphabetic and symbolic systems of communication. The evolution of meaning within these systems changes over time, and the the cultural derivations of those systems provides a substrate for our daily interactions. This effects of these systems, although preeminent to visual communication, are often an overlooked subtlety of signs and sytems in general.
For example, the "e" in our language system, the most frequently used letter in the English language, forms an alphabetic backbone to our language structure. As such, and in every form of language-based communication, it anchors itself as a primal archetypical building block. Its presence is not always apparent, it is glossed over as a microbit, but the structural significance of its placement and relationship to every other subelement is a given. It provides hieuristic meaning as an single element and, in conjunction with other elements, It forms a system of communication, and along with other systems, forms the primordial soup of active thought.
These systems, the multiples of systems, and their embedded nature in language-based thought, are fundamental to the thought process. So it is not so much the "e", but what the "e"  represents as an element for perceiving the underlying system. By extension, looking at small things in the system, any system, lends insight into the larger things. The discoveries made by creating interpretations of these systems within the creative process relates to the self, the process of thought, and the relations of self to the world frame in general. 
In Finnegan's aWake, the presence of the "e" supercedes all else, except for the oblivion and absence in the field of paper white. It becomes the condensed and de-evolved representation of the presence of the author, James Joyce—a cytoarchitectonic map of language and thought systems. Joyce's text is famous for its complex tapestry of meanings, patterns of read that breathe different contexts into  every word, every sentence, every passage. Stripped bare of the necessity of these words, Finnegan awakens again, this time recontextualizing itself in the presence of it's own fragments. What happens when we see only position, only harmonics, only relationships stripped bare of the bachelors? It is right there in front of you, in black and in white.
The series of red monochromes entitled redE, embody the evolution of red in the context of automotive styling. The 74 prints, each a diiferent hue of red, form a representation of the historical production of the Porsche automobile. Subtle variations over each production year, or lack thereof, become a catalog of meaning not necessarily held by the object of production alone. Indeed they form a tapestry of content and context, reflecting such things as fashion color trending, consumer marketing, and individual ego perceptions; that is, they quickly become more than just their elegant red monochrome surfaces would present.
One hundred prints, one hundred extrapolations, the Mone8 series of prints. Single movements of Monet's compositional tour de force are removed from their seemless integration and given a separate life. Here there are newer compositional relationships, different considerations, an evolutionary transformation of the original which becomes its own original. The strands of historical context remain, but the revitalized elements produce their own hegemony of meanings, and their own pleasure of sight. They each are interrelated in the nature of their derivation. How does that differ from the "body of work" communalities seen over the career of a particular artist? In Mone8, they appear verisimilar, but in this critical point they extend their criticality rather than condensing it.
There are twenty-six letters in the standard English alphabet. There are twenty-six Etrain prints. Letters are arranged in segments to produce textual or verbal communications. Typically, words formed by these simple symbolic representations have a unique contextual transform. 
Train cars are arranged in sequence to produce a transportation unit which carries production units or raw materials. These boxed units are moved all around, linked with others, discharged at their destination, and reused for other capacity. Both systems are similar in conveyance. 
Their codifcation is reissued as they are refilled and rerouted. The information pulled by the locomotive segments is far greater than its material dreyage. The Etrain units can be exchanged, sequenced, and recomposed; the viewer makes their own composition.
The Cave Series is an analamous context shift. If content is shifted historically, where does contemporary perception lie? The act of drawing and painting is arguably quite primitive in nature, instinctive, an embedded practice. Motivation for production aside—the fear, the beauty, the dreamscape, the necessity, the telling—the viewer is, and was drawn into the system, and objectified themselves. This formula changes then, when we project content, ages old, into our current dialogue. If Carl Jung was correct, we may recognize our archetypes if we observe carefully. Or maybe they become an evocative composition. Remember though, these are not just photographs. The content has indeed been resynthesized. On its surface, artwork of any kind is always reflexive. What we see when we look is invariably a projection of ourself. 
abcdE. This series does what it says. And much more because there is f-z as well. Times two or three or more. And then there is the multiplicity of prints. Alan Macullum, Walter de Maria, and Cy Twolmby found solice in numbers. There is much more to be found in many, more than a simple count would indicate.
"Paradise" incorporates elements that nourish the human psyche; beauty, hope, nature, diversity, environment. We rely upon our thematic representations of esoteric concepts such as beauty and hope to drive our daily existence. Without these dreams of the "ideal" and the possible, we become less human, less active, less alive. Creating is dreaming in action. I create because I dream. In the action, the past informs our future as much as the present. Immersion into the dreamscape becomes a reality in the act of creating it. In Paradise, the elements are hyperrealized—a singularity.