deltasone classification action indication


I produce installations and works on paper using printmaking processes and mixed media methods to portray and reconfigure my views of nature; the shifting of landmasses, the memory of trees and the essence of the life cycle.

The tree is among the hierarchy of the earth and crowns the very essence of life by providing a physical testimony of change. I use wood that has been discarded to represent a tangible catalog of events intrinsically woven into its structure. Climate, disease, symbiotic and parasitic relationships with insects, man’s hybridization, are documented by nature’s hand, sketched methodically in bark, growth circles, and the twist of limbs. In my work, the tree serves as a scroll of history and provides the context in which it was written by being itself an evolving, dynamic aspect of transformation. From our earliest charcoal scrawl on a bit of bark through our most technologically advanced manipulation of wood, we have returned to the tree for shelter, sustenance and expression. It is only seemly that the process of change, the very essence of nature, be reflected in this medium, the woodcut.

The organic puzzle forms used in my life-sized etchings incorporate and reflect the wood by vertical and textural references. Life forces are portrayed in the etchings by referring to hornet’s nests, chrysalis, cicada skeletons, bones and the patterns of snake skin. Zinc and copper plates are etched deeply and the texture is produced by printmaking processes using asphaltum and acid. These plates are all cut and shaped to fit together like a puzzle, providing the ability to produce works that can be rearranged, juxtaposed, or overlapped. The organic shapes in my prints produce subtle and dynamic reconfigurations of the earth and tree, connecting matrix, print/scroll and etchings, physically, psychologically and metaphorically.

In my mixed media works I reconstruct decomposing objects that are man-made and found in nature. Reflecting back to the wood and land, the discarded book becomes the matrix for these collages using additive and subtractive methods in printmaking. The natural found objects often in decay are collaged with the annotations left behind as a memory or the exhale of breath and a last attempt at the recognition of existence.