I am obsessed with the drama of light and the construction of space. These obsessions are the starting points from which I explore the line between the abstract and the figurative. They are also what make printmaking such a rewarding medium for me, pushing me to question and explore the hows and whys of creating imagery.
My images capture specific, resonating moments in my life, rendered in details that are abbreviated and abstracted enough to invite broad interpretation. I work best when I have a strong emotional connection to my subject matter. That connection is often intimate, ambivalent, and long term. I work to capture an individual’s gesture or the mood of a particular place or time, then build on my figurative anchors, whether people or buildings or trees, with layers of both ink and emotion.
I am continually amazed by the magic of monotypes. They demand total attention to detail, yet always yield unintended effects. I plan and sketch and prepare, yet at some point, the image invariably takes over, driving the process. I find profound satisfaction in the tools, the techniques, and the unexpected results.