I come from a family of fine artists. I started in textile design, then moved to painting, then began printmaking with monoprints. I then explored other methods of printmaking that could generate multiple prints, including drypoint, engraving, chine collé, collagraph, pochoir, silk screen, plate lithography, traditional Japanese woodcuts, Chinese-style woodcuts, white line woodcuts, and contemporary woodcuts. Following that, I concentrated on linocuts, particularly reduction linocuts, a challenging technique that I continue to learn from as I explore the intersection of the natural and spiritual worlds with human-made environments I encounter in my travels.
I am exploring a variety of themes in repeated series of prints that are related in colorways as
well as thematically. My reduction linocuts are inspired in part by the work of other artists,
including the Japanese printmakers who motivated a generation of impressionist and post-impressionist artists. Most recently, these include the works of Mary Cassatt, Vincent Van Gogh, Edvard Munch, Paula Rego, and Paul Gauguin, especially those in the recent Gauguin Alchemiste exhibit, which included videos reproducing his techniques, and the recent Cruel Stories of Paula Rego’s deep dive into the sources of her inspiration.
Some of the technical vocabulary I am experimenting with includes printing a solid background color to develop the print image on that rather than the blank paper, deliberately overprinting off-register to add depth to the images, and adding touches of hand coloring, much as I have done for my dry points and engravings.
Producing every print and set of prints is a learning experience as I continue to explore and
revisit series of themes and images. Although prints and series build on previous ones, I am
always trying new techniques, new inks, new papers, new matrices, from wood to linoleum to
synthetic rubber, so every session is an experiment. The reduction printmaking process far from
an exact science and there are always surprises along the way.