Each image is made by utilizing chance interventions such as misprints and misalignments, along with techniques such as overprinting, cutting, turning, erasing, and repeating, as a means by which to rearrange the components of a printed page of writing. Individual letters, punctuation marks, white spaces, gaps, numerical digits, and marks made during human interaction with the text, are manipulated, the colour and scale are changed, and the residual fragments are “woven” together like patterned cloth. As a result, a once legible text is gradually pushed towards illegibility. In resisting Western European conventions of writing, each image aims to yield an alternative physical, tactile kind of readability within which the eye can move freely and in multiple directions at once.
Imogen Reid completed a practice-based PhD at Chelsea College of Arts, her practice being writing. Her thesis focused on the ways in which film has been used by novelists as a resource to transform their writing practice, and on how the non-conventional writing techniques generated by film could, in turn, produce alternative forms of readability. Her work has appeared in: Hotel Magazine, LossLit, gorse journal, Zeno Press, Sublunary Editions, ToCall, Experiment-O, The Abandoned Playground, The Aesthetic Directory, Lumin Journal, 3AM Magazine, and elsewhere. She has chapbooks with Gordian Projects, Nightjar Press, and Timglaset Editions.