A Layered History's collaging of the double-sided pages of Janson's textbook suggest the presence of different perspectives (including perhaps some not presented) as well as the veils created by looking from any perspective. In these projects, Kessmann attempts to reveal what lies beyond the apparent to us, beneath the surface and between the lines. Trained in photography, Kessmann creates the effects of a zoom or multiple lenses and different types of lighting on these subjects, which range from the hidden folded corners of food packaging like cereal boxes to pages of the Bible. This work is the latest in Kessmann's exploration of re-examining ever-present phenomena and ephemera in our everyday lives.
has attempted this either at work or at home." We'll venture to say that no printshop in D.C. Toss the paper and ink, which are expensive, and start again. Most printshops wouldn't try something like this because of the costs that come up if it doesn't work. They stated: "Working with Dean was really exciting because we did not know if both the hardware and/or software could print such a large print. The artwork in the end became 5 feet tall and 40 feet long, and Huckenpahler and Ruiz of FURTHERMORE worked with Kessmann on the actual production of the archival pigment print, attempting to print the entire work as a continuous, single print. Kessmann started the extremely time-consuming project not knowing what would result from scanning the pages in Janson's 1,000-page textbook and rebuilding them as one image in Photoshop. Making the work required a leap of faith by not only the artist, but also the exhibition curators/producers José Ruiz and James Huckenpahler at FURTHERMORE.
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