Investigating and absorbing the surrounding visual world is a daily exercise. In the studio I internalize, translate and record these experiences using the graphic force of the woodcut and the steps and adaptation necessary to make a print. Interested in the creative journey as well as the outcome, I employ a reductive method that requires the block to be diminished in order to print subsequent layers. This visceral connection with process and problem solving has led me to make singular objects using printmaking techniques.
Crosstalk is made out of the disposable ephemera that is generated throughout the process of making an edition. In order to take on a permanent form I transformed proofs, misprints, and ghost prints into modular plywood pixels. After interacting physically and digitally with the objects in this collection I arrived at the idea of cutting and weaving these materials back together. In particular, I was influenced by the ones which take on the qualities of a different material and create the illusion of being something else entirely. The invisible subtext, inherent in the manipulation of various materials to create a new object, becomes a metaphor for how I am shaped directly and indirectly by my surroundings.