I am intrigued by the way pigment can be suspended in layers of paper
through the use of extreme pressure from the press. The three-
dimensionality of the print is actual: the various plates and objects leave
behind an impression embossed in the paper, and the press forces the
different viscosity (thick or thin) of ink through the paper, from hugging deep
into the paper fibers to resting on the surface. The viewer, rewarded for
coming in close, can decipher the layers and see the history of the decisions
that make up the work. The image is excavated out of the rich encrusted
layers of ink by the viewer's gaze as the piece reveals itself.
All of these works attempt to describe an aspect of humanness, with great
attention to the natural world. The impetus for many of these works evolves
during the course of realizing the image. Looking at the completed works,
the viewer reads the "figures" as continents. Some of these pieces are in fact
aerial views of landscapes. These deeply embossed, color saturated
surfaces successfully impart all that I want the work to communicate.