I’m obsessed with the progression of events in our lives and how millions of actions and experiences lead us to one particular point in time. We are like amoeba swimming around one another and sometimes colliding in what can be described as tragic or sublime.
My perspective on what it is I do in art is always shifting, so I find it difficult to narrow it down. Therefore, I ask you to keep in mind that the further information is only one entrance point that is coming to me in this moment and I and you shall remain open to what else may be inside. Both I and you (as an audience to my art) bring just as many influences and experiences that may render my work into radically different possibilities of what exactly it is. This is one aspect that keeps me compelled to do art, the potential to mark change in a visible sense. I can look at paintings and prints from a few years ago and I see in them a record of my life from that time. I can see records of my inspirations, whims and sometimes accidents that turn me onto new techniques. My prints are very much an exploration: of color, thoughts, techniques and whatever strikes my fancy. Often times I work through a narrative approach that sometimes results in a single 2-dimensional surface with many layers of character and drama invested within them. If you have seen my work, you will recognize that I am excited by textures and patterns. I think that there is an obvious reason for that as there is a purely visual satisfaction that comes through such indulgences, but I also see a symbolic layer in fabrics and often use them to define specific characters or moods.
Monotype is exciting for me because while it involves thinking, planning and printmaking techniques, there is often an element of surprise. Usually, I begin with a sketch from life, a story, or an idea that I want to express. I produce pencil thumbnails and try out various compositions. Enlarging and transferring the image to a plate, further refines the layout. Ink is applied in layers, usually one color at a time. Because printmaking ink is transparent, overlapping colors create additional shades. Many of my monotypes feature a collage technique called Chine Collé in which papers or fabrics are fixed to the paper on the press along with the ink. I constantly experiment with color and pattern combinations. Each print is a result of many layers of media combined with layers of content.