This area is for past projects. A visual history of my creative past. Projects will be added as they are digitized (for the real oldies!) and as they are completed.


This is a series of large scale prints (roughly 4′ x 6′). They are printed in editions of two (2). The prints are a visual exploration of Roland Barthes’ A Lover’s Discourse. Techniques used include: digital photographic prints on Japanese rice paper (Gampi), chine colle, copper plate etching, aquatint, mezzotint, and silkscreen.

Excepts from Barthes’ text from three of his “figures” (The Unknowable, Waiting, and The Uncertainty of Signs) is screen printed in a translucent acrylic based on top of the final prints.

The Unknowable won first prize in a juried cross-border print competition organized by the Windsor Printmaker’s Forum. It has subsequently toured across the country as part of the Sense of Place exhibition.

theunknowable.banh_joseph waiting.banh_joseph theuncertaintyofsigns.banh_josephcataloguespread2

The book is a shot of the catalogue from the Windsor Printmaker’s Forum. I am humbled by the interpretation of my work by acclaimed Canadian author Nino Ricci who wrote the Foreward and described my winning print thus:

“This layering of meaning is very evident in Joseph Banh’s The Unknowable, chosen by the exhibition’s jury – IAIN BAXTER&, Art Gallery of Windsor Chief Curator James Patten, and Nancy Sojka, the Head of the Department and Curator of Prints, Drawings and Photographs at the Detroit Institute of Art (DIA) – as the show’s winning submission. Here the connection between abstract space and literal space is made manifest, each reflecting off the other in a way that gives both an iconic force, the sense we are tapping into some more ancient way of seeing, some pattern of things risen up from the collective unconscious. The textual overlay, however, calls into question exactly this sort of shared knowing, the idea that there is a reality outside a purely subjective one or any “place” outside the one we live in our heads. The piece’s ambiguities seem summed up in the final line of text. “I know what I do not know,” it reads, which could be taken as a simple acknowledgement of our limitations or as a paradox, the idea that not knowing is itself a form of knowing or that there are ways of knowing even those things which, logically, are unknowable.”


This is a word/image exploration. Archival digital print on Somerset (I think).

Residue 1


This series was loosely inspired by Franz Kafka’s Metamorphosis. It was also inspired by my immediate surroundings, namely the material I had at hand. I had just visited a Value Village earlier that week and picked up a sack of doll faces (I was, and continue to be, extremely interested in the work of the Surrealists). I started off by photographing the faces but felt another texture was needed. Low and behold, ground beef thawing in the fridge.

The techniques used in this suite of prints include: silks screen and digital archival prints on somerset paper. The Japanese text reads, “Happy Set”, the Japanese name for McDonald’s Happy meals.




Couple portraits from a mega old project – makes me miss the days of film and shooting with my Hasselblad.

motel abandon desmotel abandon des


These are from a larger series of environmental portraits of friends with their underwear. It was for a self promo package called, “A photographer is like underwear. It’s all about the right fit.”



Anna | Mode Models



Abbey | Mode Models









Clair | Mode Models. This series was more conceptual. I was trying to reference the bold lines and highly stylized and graphic illustration style of Art Nouveau illustrator Aubrey Beardsley.

aubrey Aubrey_Beardsley_-_The_Dancers_Reward


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