In my work I am drawn to juxtaposition, and the impact of the human hand. My printmaking, drawing, painting, and collage are all pieces of the whole of my work. The printmaking side of my work is by its very nature planned and sketched, thumb-nailed, systematic. I know what I want each print to be when I start carving the linoleum. This technique appeals to me precisely because of its detail and ability to recreate my bold line-work. But human nature is always the push and pull of opposite ends of a thread, so the very things that draw me toward printmaking: control, reliability, and tight details pull me away, towards chaos, wild creative choices, and the immediacy of throwing everything at the wall to see what sticks. The combination of these elements creates something greater than the sum of its parts. No amount of fastidious attention to detail, or complete abandonment of form could bring me as close to the totality of human experience. In these pieces I strive to highlight my love of the technical with my yen for pandemonium.

My work is process driven, in that much of the creative act is spontaneous, chaotic, and unpredictable; while also including meticulously thought out and planned components. I create textural elements without restraint, including techniques of gel plate mono printing using acrylic, bold watercolor washes, and unfocused enthusiasm. After drying, I cut, rearrange, and recontextualize these elements, using them as backgrounds, or semi-abstract landscapes for my relief prints to inhabit. When these pieces are in place I often add final touches with acrylic or ink to unite the  disparate parts.