Artist's Statement

I am interested in textures, materials, organic forms, and the natural world around us. My projects, across mediums, gravitate towards these interests and investigate how these themes change and evolve with time, decay, variation, and imperfection. Recently, my works have been inspired by the quiet yet joyful moments in life: washed up seaweed found on a walk along Ocean Beach, iridescent scales on a reeled-in trout, foam floating down a creek during a morning hike, or lichen creeping up the side of my foggy San Francisco porch. I aim to capture how graceful and powerful nature moves, as well as how whimsical and playful it can be too.

Heavily influenced by postminimalism, land art, and contemporary soft sculptors, my artistic practice is oriented around themes of process, and over the years has become an exploration of making, movement, materiality, and mark. Previously mentioned subjects aside, I have always been drawn to construction, to working with my hands and examining how different materials can be transformed. My more abstract ceramic works clearly explore mark-making and textures, but more importantly they also aim to investigate how these forms can morph with interaction and time. Across mediums I’ve also pushed how a finished body of work can be molded further into something new, or how iterating on a specific theme or a specific mark-making technique can transform with time and repetition. How does an old linoleum block look printed in an unexpected color? How does an improvised pattern look carved instead of drawn? How does a slab of clay look when seed pods are rolled across? Now how does the clay react when this is done twice? Ten times? My artistic practice of exploration and process help me, slowly, come to finished works that I hope are full of expression, emotion, movement, and do my subjects justice.

In recent years I’ve been particularly drawn to printmaking because it lets me both lean into my artistic practice and explore my artistic tendencies. As a creator, printmaking allows me to wrestle with materials and creative techniques: carving, cutting, transferring images, mixing, printing, and constantly problem solving. As an artist, the process of printing my blocks allows me to study repetition, explore variations within a composition, and lets me make changes to my design as I continually learn about my topic. I love discovering how a mark I’ve carved into a linoleum block might look translated with ink onto paper. And I also love that with each print, I can use changes in color, opacity, and reduction to better understand my subject, be it local seaweed or grumpy fish.

I hope you, the viewer, find meditation, reflection, and maybe even joy within my various works and projects, the same way that creating them has brought to me.