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/, \, ‾ (2025) foregrounds the tension between written interpretation and direct, sensorial engagement with art. While this statement inevitably frames the work through language, the prints themselves are conceived as an invitation to experience image making beyond words. The artist embraces the capacity of abstraction and mark making to communicate forms of knowledge that are felt rather than described, asking viewers to encounter the prints first through looking and bodily response.
The work centres on lino printing as a fundamental relief process that demands physical contact between the artist and the block. Cuts, marks and carved gestures become a record of movement and decision, emphasising the immediacy of the medium. Although lino has a long standing place within the printmaking canon, it appears only intermittently across the QCAD folio boxes. By presenting a series of non figurative lino prints, the artist draws attention back to this technique and its ability to hold complex, non discursive understanding. In dialogue with works such as Internal scars by Samantha Vines in Syntax (2019) and McAuliffe Park by Shannon McAuliffe in Tension (2017), these prints lean into abstraction to create images that can be experienced differently by each viewer.
Molineux acknowledges ongoing debates about the ways art is translated into accessible information, drawing on thinkers such as David Joselit, yet ultimately positions the prints themselves as the primary site of meaning. By returning to a foundational relief technique and emphasising non discursive engagement, print-making can continue to privilege embodied, open ended encounters.