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More than any other art form, printmaking gives me freedom to articulate my constant flow of images—some emerging slowly, some rushing almost too fast to catch.
The moment of printing happens after a long process of sketching forms and often cutting intricate stencils to separate color and delineate space (a skill I learned during my ten years as a layout/mechanical artist). I like to combine techniques, such as intaglio and monoprinting, or laying stencils over hand-drawn images. Whatever techniques I use, my primary focus is to imbue my images with life energy, an anima that touches people. I am very particular as to how specific figures, abstract shapes and color work in concert with each other. But, at its best, the composition is accomplished with spontaneity and without inhibition.
For me, the work is a transformational processing of my own experiences, including those as a clinical social worker. People seem to recognize something familiar in my imagery. I think it serves not only as a window into my unique world, but as a window into their world as well—one they may not have looked through before. My work is quite accessible and intimate. The complex layering of the prints may function as an allegorical space where people can make their own meaning.
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