My black and white cutouts are an evolution from when I used stencils to make posters for my band, The Nite Lights.

About twelve years ago, as my technique improved, the stencils became too fragile to work with.

I started to simply photocopy black paper cutouts and found that I was able to get much more coverage pasting and stapling these around town than I had with the stencils, all the while, retaining a fine art object.

My process varies with each paper cutout, but there are some things that remain consistent. From thumbnail sketches I develop more detailed studies that I then redraw on black paper paying special attention to the limits of the medium.

In a paper cutout, all the black must connect (this makes things like belly buttons challenging).  

The longer I have been doing commissioned and uncommissioned public art the more I try to find architectural spaces to frame and add context to my work, ultimately, integrating it into the environment.

In a gallery, however, one can to see the original cutouts from which the larger installations are made.

Their intricacy and smaller scale often surprise people, giving them a new perspective on the public / private aspects of my work and emphasizing the blend of craft and concept that I attempt to achieve.

During our studio visit, Joe Boruchow also showed us some of his signed pieces from meeting Keith Haring in 1988.  Needless to stay, we danced excitedly around during every part of this visit.  Thank you Joe!

Keith Haring and Joe Boruchow, 1988

See Joe Boruchow's artwork in person during INTERSECTIONS through October 10, 2015.

Click here to view available artwork by Joe Boruchow.