Artist Statement

I aim to capture collective moments in time. Each art piece I make is an attempt to recreate the beauty of the human trace, an accumulation of marks of those who came before me. I begin each series by traveling to a country that has a unique history, whose buildings reflect the distinct aspects of its culture and whose people hold strong traditions and connections. During my travels I seek out the tiny recesses of these places, taking my time to see the parts of a city or town that are crude and rough, and humble. Sometimes I slowly explore a country by bicycle solo or wander through an area alone on foot in order to find these seemingly unimportant spots. Then as an anthropologist would, I document and gather remnants and palimpsest, like pieces of time and culture. I also photograph walls and buildings that are left baring the marks of people and their history around them and their daily life. Sometimes this is simple graffiti or old postings, while other times it’s worn out advertisements or addresses. I also forage and collect used and printed on papers or worn out bits of fabric. These marks and papers to me have a personal immediacy and presence, reflective of the place and its people, past and present. These are the traces of those who came to this unassuming location, I have also come to find, whether it’s in a tiny alley in San Sebastian, Spain or a remote place along a path in Ubud, Indonesia. We have both shared this place, this experience however small it may be. These modest impressions left behind underscoring our shared humanity.

I then attempt to recreate these shared moments. Once in the studio, I develop a series of artwork that focuses on combining these found elements with various printmaking techniques, watercolor, and chine-colle.  I build the paper surface with numerous layers. In some layers I reference the graffiti in various languages, the palimpsest, and marks on buildings. I try to convey the energy and time I see, by scraping and applying the ink to dry-point etchings of the marks.  In other layers I brush, roll, drip, wipe, and scape ink or watercolors to produce rich, textured, fields of active color. I continually overlap the layers in an attempt to imitate time acting upon a material. I also take adding life to the work a step further, by collaging the found local paper vestiges, weathered fabrics, and leftover materials into my prints. Most of these remnants are ripped, patterned, or deteriorated with visible strands fraying off the edges of the composition. Eventually each art piece develops a unique layering of textures, colors, and energetic marks that express my impressions of a place and the superimposing of elements over time, into a cohesive whole, a singular moment, where I happened upon.  

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