Using the traditional techniques, oil on linen or copper plate etching, Easton reworks each section individually using weight, pressure and touch to offset the marks and then splices the pairs together to a complete composition. The final piece has the sense of a room or fragmented landscape which evokes memory, but also a distortion of history, as all elements have been disjointed, transformed and reflected, as if a magnetic force has pushed or pulled the elements together or apart.
‘This fragmenting and reassembling of the image’ says Easton, ‘pulls the viewer in and out of the surfaces, absorbing them into its layered history’.
Referencing the 19th century parlour game, Myriorama, where landscape picture cards could be reconfigured to create multiple compositions, Easton uses the domestic interior to do the same. In these works the intimacy of the interior is fragmented, and the process applies a further distorting and distancing.
