This three-print series operates in the tradition of the political broadside, using contemporary newspapers as both material and site of intervention. Headlines, market data, and geopolitical reporting become grounds upon which bold, overprinted declarations interrupt the assumed neutrality of the press. Words such as Peace and No are set in oversized type, colliding with imagery of ships, trade routes, and conflict to expose how war is narrated, normalized, and economically rationalized.
Rather than offering illustration or commentary, these prints function as acts of refusal—reclaiming print as a public address meant for circulation, disruption, and collective encounter. The series insists that peace is not a passive condition, but a position that must be stated, printed, and repeatedly placed into the world.
This three-print series operates in the tradition of the political broadside, using contemporary newspapers as both material and site of intervention. Headlines, market data, and geopolitical reporting become grounds upon which bold, overprinted declarations interrupt the assumed neutrality of the press. Words such as Peace and No are set in oversized type, colliding with imagery of ships, trade routes, and conflict to expose how war is narrated, normalized, and economically rationalized.
Rather than offering illustration or commentary, these prints function as acts of refusal—reclaiming print as a public address meant for circulation, disruption, and collective encounter. The series insists that peace is not a passive condition, but a position that must be stated, printed, and repeatedly placed into the world.
