I look at the world around me as a creative space, listening, and observing; I am making a visual language. The page is a particular place for me, functioning like studio space, a place for experimentation and note-taking. I take snapshots. I am inspired by the urban environment, particularly architecture and quotidian objects. I use my sketchbooks and photographs as reference materials. I meditate a lot; therefore, my work is a practice of clarity. I love circles and distinctive geometric shapes, chance encounters, and repetition. I make collages and use steel templates and handmade stencils in my drawings and prints.
Working with geometric shapes and a limited palette, I want the viewer to insert their own narrative into my work. I love shadows and found that printing ghost impressions, I can let chance take over. I want black ink to be like writing on the page of my own language, describing night, nature, constellations, the enormity of the physical world, and the universe above.
I use an etching press and ink up craft foam circles, triangles I cut from Plexiglas, and steel templates borrowed from a metalwork shop as plates to make my prints. I am employing a process where I place a collage of inked shapes and templates onto the press bed and then sandwich the paper on top of the plates. Sometimes I lay the paper or many papers down first, arranging the shapes in compositions on top. I am ghosting printing, printing without re-inking a plate, pulling several images, organizing, and rearranging paper and plates.
I am monprinting and not making multiple originals. I work on each print over a period on time, adding colors and patterns. Titles are essential and add to the composing of the work and the reading of the printed page.
By inking metal plates that I get from a sheet metal shop and craft foam shapes, I've developed a form of monoprinting where I employ ghost printing, and I print on the same piece of paper several times. My process involves a lot of chance. Although not beholden to strict printmaking.