In creating my prints, I draw from observation, trace, re-trace, edit and re-configure these drawings onto the printing plate. Out of this process springs the conceptual basis for the work: the experience of time, imperfections in observation, and the shifts in recording as stories are told and re-told.
Working with printmaking processes, I am interested in both the mutability of observed drawing and the mutability of that comes with repetition in printmaking. At the core of printmaking is the repeatability of the plate/image. With this repetition comes the variation and mutations that occur in redoing or retelling or re-remembering something. The artifacts and incidental in this process become part of printed record.
While my work reflects process and the facts of navigating various printmaking techniques, it is also rooted in form and color. In the editing and re-mixing of my drawings I am looking at issues of form – the space described by line, edge and negative space. While printing multiple plates, color becomes a primary focus: thin veils of color create space into the page and alternate between density and openness. The result is a union between these observed, visible intervals and the intangible, felt intervals of time and memory.