In my multidisciplinary art practice, I am interested in using the ever-changing atmospheric conditions of landscape as a metaphor for the shifting nature of human emotion, while also reflecting on the precarious, tenuous state of the environment.
There is an aim to bring form to the intangible while using materials and processes that are often fragile or provisional. Monotype printmaking is at the core of my recent work; as I begin my process, a plexiglass plate is inked once, using marks that imply patterns and forms found in nature. I then add water in multiple stages and pull many prints until the ink is fully removed from the plate. The paper is allowed to curve, curl, wrinkle, and warp as it responds to the ink and water.
At the start of 2020, my single works shifted to layered installations of multiple prints that appear to push off the wall. These installations are contained but also break the traditional frame and two-dimensional surface; they feel both unified and divided, heavy yet light. As I reflect on the unpredictable nature of our weather patterns and the volatility of our oceans, the work becomes more dimensional and immersive. Water, used as subject, medium, and change agent, is always present in the work.