"Anomalous Traces"

How do sculptural printmakers categorize their work and when does it cross from print to sculpture? In multimedia pieces, when does the print part become a minor element, or not necessary at all? Is it external forces, such as curatorial concerns, that determine how the work is perceived? Does the traditional definition of printmaker still work, when everything is so fluid these days? This is a question that Sang-Mi Yoo has been asking for a long time. Associate Professor of Art at Texas Tech University, she creates digitally cut repetitive images from materials such as fel and hands them in large installations.‘ I always got questions from other colleagues: Is it print?' Yoo arrived at a resolution of sorts by referencing the templates and matrices that she uses to cut the dimensional materials.