My work focuses on processes of monotype printing. It’s an addicting process that allows room for constant change and physicality to create the prints. What engages my interests most in this printing process is the unpredictability of the results. I am never going to get the same print twice, and the prints can be forever changing and morphing into a whole new look. 

    To start, I roll out a slab of ink to create one flat color, and I set my paper atop the ink. Once the paper is set, I place some sort of textured surface, such as placemats, to create pressure prints using the ink on the flat surface. Not only am I pulling large prints from the press, but I also document certain marks left on the inked surface. After I pull a print, I take small pieces of thai kozo, and I record the incidental marks and ink residue left on the flat surface without adding any additional ink. As a result, I have a well-stocked pile of various printed marks to use for collage in my future works.

    I develop my work by printing layer after layer, and each layer is reacting to the previous layers before it. Layering on top of another layer is meant to make the prints appear as though there is depth when one peers into them. I like to manipulate the flatness and space of the paper to make the print compositions feel as though they exist in their own world. My current work was inspired by some water studies, and the images that I was most compelled by were ones where the water played with the light to create these slightly distorted images. I played with this relationship with printing inks and different transparencies to imitate illusions of light in my prints. It still is very difficult to call these “finished” works because my mind just wants to keep adding more to it. I find stopping points where I feel I can put my prints on pause, but there are always ways in which I can continue printing them.