I strive to create quality and rich work that demonstrates careful thought, effort and ideas. I work imperfectly in my art, meaning everything I do is loose, mistakes are frequently included, and spontaneous decisions are often made. Concepts dominate aesthetics and sometimes vice versa. As a printmaker, technique is valuable to my art and holds my interest to the field as there are so many new techniques and materials sprouting. Part of my work’s result is the mystery of what will happen after the matrix goes through the press, or the physical process that goes into making the print – I want the viewer to grasp the movement of my arm scribbling throughout the paper or plate, and I also want the viewer to grasp the pressure of my hand engraving into or inking the plate. The richness of both the delicacy and intensity of the tones, marks and values in my prints are only achieved with movement and pressure of my hands, which I think is important to show through.
Printmaking is a flourishing field with no limitations but the size of the matrix: I enjoy this concept, and I bring any and all materials that catch my eye into my work, both directly and conceptually. Examples of these materials include tea bags for chine colle techniques and actual nature and found objects for collagraphs and collages. My recent work has taken these concepts to a new level as I have been experimenting with sculpture and installation with various media, found or created. My choices of vivid colors stem from what I see as the most aesthetically pleasing, often due to my inspiration from quirky antiques, fashion, and the animated colors of fruits and vegetables. Due to my inspiration from nature and architecture, I generally work with neutral colors in my art as well as Earth tones. Nature and architecture also inspire me to create organic and geometric forms, from printmaking to three-dimensional work.