James Nares’ work focuses on movement, rhythm, and repetition – a visual recording of gestural movements over the passage of time that has become a common thread in her larger practice, as well in as her collaborations at Durham Press. Beginning with her first edition in 2002, titled Three Aces, to her most recent edition in 2021, titled Going For Baroque, the solitary brushstroke that has become a hallmark of Nares’ repertoire since the 1980s also plays a prominent role in her work with Durham Press. While the brushstrokes explore concepts of velocity and time recorded through the gestural and ephemeral movements of the human body, her work pushes that exploration further by capturing how that human motion interacts with mechanical intervention. In the series of intaglio and screenprints titled Road Paint Prints (2016), that singular mark used in her brushstrokes is transformed into a ghostly, powerful totem through the use of a road striping machine while still retaining that same gestural quality. Similarly, in her series of photogravure prints titled High Speed Cone Graphs 1-4, her mark becomes distorted into concentric lines as she holds her brush to large spinning cones of varying degrees; each line captures not only the movements of Nares’ body, but also her interaction with the cone as it warps her straight lines. These three languages of mark making that Nares has explored with Durham Press correlate but do not replicate her larger practice, shedding new light on the themes she has delved deep into throughout her career.