I often describe my work as hopelessly handmade.
With a wealth of digitized and mechanized means for making art at our fingertips and in our pockets, the slow, laborious, and difficult process of relief printmaking feels almost defiantly anachronistic. Despite my rebellious and even Luddite tendencies my work isn’t driven by a single grand rebellion; it’s simply that woodcut and linocut printmaking set off fireworks in my head like nothing else can. When things are clicking or a work is nearing completion, putting down the gouge is a struggle. Walking away from a work in progress is nearly impossible. I am hopeless against the pull of the work.
I have an ongoing series of prints incorporating a skull motif as a springboard to explore a wide breadth of carving, inking, and printmaking techniques. I’ve made various prints of animals, examining the qualities that make them distinct and interesting. I’m just starting a new body of work focusing on art as ephemeral. It’s my first series of non-objective works. Regardless of subject matter, my work remains consistently slow and methodical and hopelessly handmade.