The Archive
A Journey Through Previous Works
Nature/Nurture 2020 - 2022
Perceptions of landscape through a relationship with nature as the subject matter. Exploring how interdependent we are with our environment and how our presence is impacted by the cyclical component of our natural world.
This body of work relies on intuitive processes producing effects that are impactful yet calming. Implementation of color and mark making are harmonious, complimenting and well balanced. Shapes emerge creating dimensions within the work that has a meaningful interaction between positive and negative space. It induces a feeling one might experience when walking through the woods or interacting with the world outside our doors.
Painting 2010 - 2016
Artist Statement (2006–2016)
Between 2006 and 2016, I was working primarily as an en plein air painter, creating all of my work outdoors, directly within the landscape. Some of the larger drawings from this period began as studies made on-site, later completed in my studio. The process always started with direct engagement with the natural world.
For me, drawing and painting are a progression of sight—a layering of observation, memory, and a kind of emotional knowing. I'm drawn to those fleeting moments of connection with nature when all five senses are heightened. It might last only an instant, but it triggers something profound—a thought, a memory, or an insight that expands my sense of time. In those moments, I feel transformed.
When working outdoors, the visual experience becomes a portal—from the outer world into an inner one. The turning inward begins with something external: a quality of light, a shift in the wind, a shadow across the earth. Nature initiates the dialogue, and I follow it inward.
Paintings
Drawings and Mixed Media
Printmaking
As I am primarily a painter I also love printmaking - it is a beautiful companion to painting. Printmaking offers a time for me to slow down, plan, and to work among other printmakers in a collaborative spirit. Even though we are each engaged in our own project sharing the shop space is a rich and rewarding experience. It’s a vital aspect of my artistic practice that constantly challenges me, opens new doors for exploration, and deepens my understanding of the creative process. Whether through the freedom of monotypes, the precision of Intaglio, or the vibrant layers of screen printing, printmaking continues to inspire and push my work in new directions.
Printmaking: A Beautiful Companion to Painting
As a primarily painter, I find printmaking to be a beautiful and complementary art form. Printmaking offers a different pace and process that allows me to slow down and reverse engineer each piece. It encourages a deep sense of reflection and planning, offering new avenues for creative exploration that complement my painting practice.
Monotypes: A Blend of Painting and Printmaking
One of the most captivating printmaking methods for me is encaustic monotype, which acts almost like a hybrid between painting and printmaking. The process of creating an encaustic monotype involves painting directly onto a plate, then transferring that image to paper. The ink is heated by a hot plate and the immediacy of this technique is one of its most exciting aspects—it allows me to express my ideas quickly, much like I do in painting, but with the added element of printmaking’s unpredictability.
Intaglio and Screen Printing: Expanding Creative Possibilities
Intaglio, offers a tactile, detailed quality. The etching process invites me to think more deeply about the texture and marks I create, allowing for intricate lines and contrasts that would be difficult to achieve in painting alone.
On the other hand, screen printing has opened up new opportunities for me to explore repetition and layering. The process of pushing ink through a mesh screen can create crisp, clean lines and graphic effects, adding a different dimension to my work. The ability to layer colors in multiple stages allows me to experiment with new combinations, often resulting in fresh perspectives and ideas that feed back into my painting practice.
Printmaking Collage
These collaged works are bits and pieces of prints that usually had a technical issue in a specific place within the plate. The ink wasn’t consistent or the right tone or value, etc. Or maybe a change was made to a substrate. Saving this prints builds a rich and unique stash of excellent collage material. I think of collage as drawing in a different language other than graphite or ink. It’s like saying the same sentence in Italian or Japanese -- a different language or accent. It can activate space or substrate differently than it did in it’s previous form. This is always exciting.
