Printmaking somehow encompasses all my earlier lives. It satisfies my love for process and planning; and it taught me to incorporate spontaneity, surprise, and happy accidents into my practice.
I trained in architecture and design. I’ve returned to those roots as inspiration for printmaking. I start by setting rules for myself: a geometric pattern, a color palette, a strategy for action. As I explore this situation, I look for as many variations and combinations as possible. I’m interested in pushing the boundaries of my rules, looking for unexpected juxtapositions, playfulness, and variety within the system I’ve set in motion. Mathematical concepts of rotational and mirror symmetry generate patterns that seem chaotic but have an underlying order.
In my screenprints, the variety comes from pushing the color palettes and exploring monotypes and monoprints. I’ve also started a series of floating prints. I cut windows and patterns into sheets of printed paper, bringing together layers that are printed separately, each with their own technique, design elements, and message. The prints are cut apart and reassembled in multiple layers, one layer lifted above the lower layer. This allows for dramatic light and shadow to enhance the tonal variations, color contrasts, and shifts from solid to pattern and from hard-edged geometric to hand drawn. The cuts in the top layer create a shallow architectural space that suggests parts of buildings (windows, structural trusses, screens), while exposing the opposing print below.