Wade Guyton’s works are not paintings in the historical sense. His large compositions on pre-primed linen appear, at first, to fall within the traditional painting structure, but in fact update the medium by engaging current media and technologies. Preferring Microsoft Word and Photoshop to preparatory drawings, and inject printers over oil paint and brushes, Guyton produces compositions that relate strongly to contemporary image production practices. His large-scale works grew out of his “printer drawings,” in which he overprinted art book pages with simple patterns. Guyton, who is resistant to making anything by hand, types out letters and creates black boxes on a computer before printing the text and forms onto pre-primed linen. He then folds the fabric and repeatedly feeds (or forces, pulls, sometimes yanks) it through a large inkjet printer producing ‘painterly’ effects or mishaps in the uneven build-up of ink. Sometimes Guyton will drag these unstretched works across the studio floor, adding yet another layer of inky detritus. In his large-scale Untitled, 2006, Guyton applied a flame motif, appropriated from Stephen King’s 1980 novel, Firestarter, and included a white typed U. The bifurcated appearance of the composition is both intentional and necessary—Guyton must fold the linen in order for it to fit into the inkjet printer. The “painterly” effects—track marks and smears—trace the printer’s “hand” rather than the artist’s. Guyton’s marks and familiar imagery—the typed U’s and X’s, the black boxes and scanned flames—are open to interpretation.