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.  My latest work has been with silkscreen.

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.