INSTAGRAM SOURCE NOTES · LANGUAGE MEMORY

@g.a.works

@g.a.works is a printmaking-centered fine artist who layers serigraphy with acrylic and found ephemera (cigarette wrappers, paper) on progressively industrial substrates — paper, then board, then steel — as a material argument about durability and weight. The work fuses vernacular American pop culture (Vegas Vic, pinball, roadside food) with global references (Japan, Arabic, Latin America) and explicit political and literary citation (Baldwin, John Brown, anti-ICE imagery). The iterative "study" format made public signals that process and accumulation are as much the subject as any single finished piece.

8 concepts10 references5 positions
James BaldwinJames BaldwinJohn BrownJohn BrownVegas VicVegas VicWaylon JenningsWaylon Jennings
Guided Route
02
DLstYIVvhtp, DLGC3FsvGLH, DXNIX6FFp95, DW7GRwsFvaF

Material escalation as argument

Progressive use of heavier substrates — paper to board to steel — embeds a conceptual claim about permanence, weight, and political stakes.

John Brown person — 19th-century abolitionist John Brown via DLGC3FsvGLH
Pairing John Brown and James Baldwin in a single work proposes a lineage of radical American justice that crosses 19th-century direct action and 20th-century literary witness.
03
DXNIX6FFp95, DQSl-ISAAAj, DNoC0rxgygz

Cross-cultural vernacular collision

American Southwest iconography, Japanese textile tradition, Arabic script, and Latin American references coexist in the same frame without imposing hierarchy.

Vegas Vic artwork/icon — mid-century American roadside neon figure Vegas Vic via DNoC0rxgygz
“French Fried Samsara” frames American fast-food culture within Buddhist cyclical existence — suggesting the consumer loop is its own form of spiritual captivity.
04
DLstYIVvhtp, DLGC3FsvGLH, DLF3UxuAV_I

Political iconography as fine-art layer

Explicit anti-ICE imagery, abolitionist figures, and radical slogans are embedded within formally resolved fine-art works rather than kept separate as protest art.

Waylon Jennings person — outlaw country musician Waylon Jennings via DLF3UxuAV_I
Posting paper studies publicly refuses the art-world convention that process is private; accumulation of studies IS the body of work, not a backstage to it.
Evidence Trail

This is the source texture behind the notes: a curated path through the harvested captions so the page reads less like an abstract summary and more like a map of what @g.a.works actually kept returning to.

38 harvested posts12 source cardssource post, research / reading, class / capital
source 01 · DQSmguuAIvH

Poor Yorick, 2025, serigraphy and acrylic on steel, 24x18” #screenprint #printmaking #seri

Poor Yorick, 2025, serigraphy and acrylic on steel, 24x18”

#screenprint#printmaking#serigraphy#screenprinting
source post
source 02 · DQSl-ISAAAj

Tenugui Study, 2025, serigraphy, acrylic, and pastel on canvas, fabricated hanging wood fr

Tenugui Study, 2025, serigraphy, acrylic, and pastel on canvas, fabricated hanging wood frame, 18x40”

#screenprint#printmaking#serigraphy#screenprinting
research / reading
source 03 · DPursQLDJsk

Study on Steel (S.O.S.), 2025, acrylic and serigraphy on steel sheets, 18x24” #serigraphy

Study on Steel (S.O.S.), 2025, acrylic and serigraphy on steel sheets, 18x24”

#serigraphy#silkscreen#screenprinting#printmaking
research / reading
source 04 · DNoD3mYALCU

Paper study, 2025, serigraphy, 24x19” #screenprint #printmaking #serigraphy #screenprintin

Paper study, 2025, serigraphy, 24x19”

#screenprint#printmaking#serigraphy#screenprinting
research / reading
source 05 · DNoDKZXAokE

Paper study, 2025, serigraphy, 19x24” #screenprint #printmaking #serigraphy #screenprintin

Paper study, 2025, serigraphy, 19x24”

#screenprint#printmaking#serigraphy#screenprinting
research / reading
source 06 · DNoCXjpg_Tt

Paper study, 2025, serigraphy, 18x24” #screenprint #printmaking #serigraphy #screenprintin

Paper study, 2025, serigraphy, 18x24”

#screenprint#printmaking#serigraphy#screenprinting
research / reading
source 07 · DMA-w5WsMIf

Paper study, 2025, serigraphy, 24x18” #screenprint #printmaking #serigraphy #screenprintin

Paper study, 2025, serigraphy, 24x18”

#screenprint#printmaking#serigraphy#screenprinting
research / reading
source 08 · DLst18MvgDt

Paper study, 2025, acrylic and serigraphy, 19x24” #screenprinting #serigraphy #printmaking

Paper study, 2025, acrylic and serigraphy, 19x24”

#screenprinting#serigraphy#printmaking#shinkansen
research / reading
source 09 · DLGGPTHPlqO

Untitled, 2025, acrylic and serigraphy on board, 36x48” #screenprinting #serigraphy #silks

Untitled, 2025, acrylic and serigraphy on board, 36x48”

#screenprinting#serigraphy#silkscreen#printmaking
class / capital
source 10 · DLGF1_3PRZC

Paper Study, 2025, acrylic and serigraphy, 24x18” #screenprinting #serigraphy #printmaking

Paper Study, 2025, acrylic and serigraphy, 24x18”

#screenprinting#serigraphy#printmaking#pinball
research / reading
source 11 · DLF3lbTgg31

Paper Study, 2025, acrylic and serigraphy, 24x19” #screenprinting #serigraphy #printmaking

Paper Study, 2025, acrylic and serigraphy, 24x19”

#screenprinting#serigraphy#printmaking#hiroshima
research / reading
source 12 · DLF2zGWAMXQ

Paper Study, 2025, acrylic and serigraphy, 18x24” #screenprinting #serigraphy #printmaking

Paper Study, 2025, acrylic and serigraphy, 18x24”

#screenprinting#serigraphy#printmaking#barcelona
research / reading
Clip Dossiers

These cards go back to the raw transcript and caption material. They are intentionally fuller than the concept library: each one keeps the source clip visible, names what it contributes, and preserves a short line from the material without turning the page into a transcript dump.

01DXNIX6FFp95caption · 6w

Habibi (حبيبي), 2026, acrylic and serigraphy on steel, 36x48”

Develops Material escalation as argument, Cross-cultural vernacular collision through this source: Habibi (حبيبي), 2026, acrylic and serigraphy on steel, 36x48”

Habibi (حبيبي), 2026, acrylic and serigraphy on steel, 36x48”

This gives the page primary-source backing for Material escalation as argument, Cross-cultural vernacular collision, turning the concept from a label into an actual clip-level argument.

Material escalation as argumentCross-cultural vernacular collisionsource material
02DLstYIVvhtpcaption · 7w

F*** ICE - Paper diptych study, 2025, 35x19”

Develops Serigraphy as primary language, Material escalation as argument through this source: F*** ICE - Paper diptych study, 2025, 35x19” #screenprinting #serigraphy #printmaking

F*** ICE - Paper diptych study, 2025, 35x19” #screenprinting #serigraphy #printmaking

This gives the page primary-source backing for Serigraphy as primary language, Material escalation as argument, Political iconography as fine-art layer, turning the concept from a label into an actual clip-level argument.

Serigraphy as primary languageMaterial escalation as argumentPolitical iconography as fine-art layer#screenprinting#serigraphy#printmakingresearch / theory
03DLGC3FsvGLHcaption · 13w

The Two JBs, 2025, acrylic and serigraphy on board, 36x48”

Develops Serigraphy as primary language, Material escalation as argument through this source: The Two JBs, 2025, acrylic and serigraphy on board, 36x48” #screenprinting #serigraphy #printmaking #johnbrown #jamesbaldwin

The Two JBs, 2025, acrylic and serigraphy on board, 36x48” #screenprinting #serigraphy #printmaking #johnbrown #jamesbaldwin

This gives the page primary-source backing for Serigraphy as primary language, Material escalation as argument, Political iconography as fine-art layer, turning the concept from a label into an actual clip-level argument.

Serigraphy as primary languageMaterial escalation as argumentPolitical iconography as fine-art layer#screenprinting#serigraphy#printmaking#johnbrownsource material
04DNoC0rxgygzcaption · 14w

Vic Has a Headache, 2025, serigraphy and acrylic on board, 36x48”

Develops Cross-cultural vernacular collision, American roadside pop elevated to philosophy through this source: Vic Has a Headache, 2025, serigraphy and acrylic on board, 36x48” #screenprint #printmaking #serigraphy #screenprinting #vegasvic #pinball

Vic Has a Headache, 2025, serigraphy and acrylic on board, 36x48” #screenprint #printmaking #serigraphy #screenprinting #vegasvic #pinball

This gives the page primary-source backing for Cross-cultural vernacular collision, American roadside pop elevated to philosophy, turning the concept from a label into an actual clip-level argument.

Cross-cultural vernacular collisionAmerican roadside pop elevated to philosophy#screenprint#printmaking#serigraphy#screenprintingsource material
05DW7GRwsFvaFcaption · 9w

French Fried Samsara, 2026, acrylic, serigraphy, and paper on steel, 18x24”

Develops Material escalation as argument, Found and ephemeral material inclusion through this source: French Fried Samsara, 2026, acrylic, serigraphy, and paper on steel, 18x24”

French Fried Samsara, 2026, acrylic, serigraphy, and paper on steel, 18x24”

This gives the page primary-source backing for Material escalation as argument, Found and ephemeral material inclusion, turning the concept from a label into an actual clip-level argument.

Material escalation as argumentFound and ephemeral material inclusionsource material
06DQSl-ISAAAjcaption · 16w

Tenugui Study, 2025, serigraphy, acrylic, and pastel on canvas, fabricated hanging wood fr

Develops Cross-cultural vernacular collision through this source: Tenugui Study, 2025, serigraphy, acrylic, and pastel on canvas, fabricated hanging wood frame, 18x40” #screenprint #printmaking #serigraphy #screenprinting

Tenugui Study, 2025, serigraphy, acrylic, and pastel on canvas, fabricated hanging wood frame, 18x40” #screenprint #printmaking #serigraphy #screenprinting

This gives the page primary-source backing for Cross-cultural vernacular collision, turning the concept from a label into an actual clip-level argument.

Cross-cultural vernacular collision#screenprint#printmaking#serigraphy#screenprintingresearch / theory
07DLF3UxuAV_Icaption · 11w

Paper Study, 2025, acrylic and serigraphy, 19x24”

Develops Serigraphy as primary language, Political iconography as fine-art layer through this source: Paper Study, 2025, acrylic and serigraphy, 19x24” #screenprinting #serigraphy #printmaking #jamesbaldwin #waylonjennings #thismachinekillsfascists

Paper Study, 2025, acrylic and serigraphy, 19x24” #screenprinting #serigraphy #printmaking #jamesbaldwin #waylonjennings #thismachinekillsfascists

This gives the page primary-source backing for Serigraphy as primary language, Political iconography as fine-art layer, Public iteration as finished practice, turning the concept from a label into an actual clip-level argument.

Serigraphy as primary languagePolitical iconography as fine-art layerPublic iteration as finished practice#screenprinting#serigraphy#printmaking#jamesbaldwinresearch / theory
08DXhBuSrlmrdcaption · 7w

Bad Circuses, 2025, acrylic and serigraphy on steel, 18x24”

Develops a source material thread through this source: Bad Circuses, 2025, acrylic and serigraphy on steel, 18x24”

Bad Circuses, 2025, acrylic and serigraphy on steel, 18x24”

This adds texture around acrylic, circuses, serigraphy, steel, showing a recurring concern that was easy to flatten in the shorter notes.

source material
Concept Library
concept 01 · DLstYIVvhtp, DLGC3FsvGLH, DLF3UxuAV_I

Serigraphy as primary language

Screenprint is not decoration but the core medium and meaning — the technical act of printing IS the artistic statement.

concept 02 · DLstYIVvhtp, DLGC3FsvGLH, DXNIX6FFp95, DW7GRwsFvaF

Material escalation as argument

Progressive use of heavier substrates — paper to board to steel — embeds a conceptual claim about permanence, weight, and political stakes.

concept 03 · DXNIX6FFp95, DQSl-ISAAAj, DNoC0rxgygz

Cross-cultural vernacular collision

American Southwest iconography, Japanese textile tradition, Arabic script, and Latin American references coexist in the same frame without imposing hierarchy.

concept 04 · DLstYIVvhtp, DLGC3FsvGLH, DLF3UxuAV_I

Political iconography as fine-art layer

Explicit anti-ICE imagery, abolitionist figures, and radical slogans are embedded within formally resolved fine-art works rather than kept separate as protest art.

concept 05 · DW7GRwsFvaF

Found and ephemeral material inclusion

Cigarette wrappers and paper scraps are incorporated into otherwise archival works, introducing impermanence and vernacular debris as intentional content.

concept 06 · DLstYIVvhtp, DLF3UxuAV_I

Public iteration as finished practice

"Paper studies" are posted openly and treated as complete works, positioning process and accumulation as subject matter rather than preparation.

concept 07 · DNoC0rxgygz

American roadside pop elevated to philosophy

Vernacular icons like Vegas Vic and pinball machines are treated as serious pictorial subjects capable of carrying conceptual and political meaning.

concept 08 · DLGC3FsvGLH, DLF3UxuAV_I

Literary citation as visual layer

Textual references to writers, musicians, and thinkers (Baldwin, Waylon Jennings, Sartre) function as pictorial elements layered into the print surface.

Reference Atlas
James Baldwin

James Baldwin

person — writer and civil rights thinker

via DLGC3FsvGLH, DLF3UxuAV_I

John Brown

John Brown

person — 19th-century abolitionist

via DLGC3FsvGLH

Vegas Vic

Vegas Vic

artwork/icon — mid-century American roadside neon figure

via DNoC0rxgygz

Tenugui

Tenugui

cultural object — Japanese hand-dyed textile tradition

via DQSl-ISAAAj

Samsara

Samsara

concept — Buddhist cycle of existence

via DW7GRwsFvaF

Anti-ICE movement

Anti-ICE movement

movement — immigrant rights / abolish-ICE political organizing

via DLstYIVvhtp

Positions
Steel as substrate is not an aesthetic upgrade but a political one — the material's industrial permanence makes an argument that paper cannot.
Pairing John Brown and James Baldwin in a single work proposes a lineage of radical American justice that crosses 19th-century direct action and 20th-century literary witness.
“French Fried Samsara” frames American fast-food culture within Buddhist cyclical existence — suggesting the consumer loop is its own form of spiritual captivity.
Posting paper studies publicly refuses the art-world convention that process is private; accumulation of studies IS the body of work, not a backstage to it.
“This Machine Kills Fascists” as citation positions the practice inside a longer tradition of art-as-weapon, where the tool itself — the screen, the press — is the political instrument.
Tags
printmakingserigraphypolitical artradical iconographycross-cultural vernacular pop