The inspiration for most of my work is nature - trees, birds, fish, flowers, sheep. I was first drawn to painting in watercolors because I enjoyed the transparency and luminosity. I now work with masking fluid and pouring layers of paint (see blog). This causes me to think reductively, much like I would do for a reductive relief print. I use negative spaces to define an object. A painting should be more than a photograph. It should convey the artist’s unique perspective.
I started doing mono printing 10 years ago. Monoprints involve inking papers, stencils, or drawing on a plate, and then making one or two prints. After several years experimenting with this, I felt the need to explore other processes. I started taking classes at Forest Park Community College. There I learned relief printmaking with linoleum, wood blocks and a plastic called sintra. Relief printing uses a brayer to apply ink to the top surfaces. I also learned to etch on copper plates and intaglio printing where the ink is rubbed into the plate and the surface wiped off. I have made many collographs plates where leaves, flowers, lace, string are glued to a plate - these can be printed either as relief or intaglio.
I enjoy the processes involved in printmaking - carving plates, etching copper, gluing collographs, as well as using a printing press with damp paper and getting a dimensional embossment. I finish work with watercolor painting or college as needed. I also frequently use layers to give the print more depth.