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"Ultimately, it’s all about the line. I am passionate about the lines that can only be created in carving relief plates. The characteristic thick and thin lines, chop and hatch marks —created with my knife, that give my work its distinctive look. My reductive medium requires me to think backwards, and to think about positive and negative space, both physically and energetically.
"I enjoy the process all the way through, from carving, to inking and printing my plates by hand. My current interest is to translate my linocuts into large format installations.
"When it comes to how I work, curiosity is in the driver’s seat and I am along for the ride, sometimes as a willing traveler—with a map in my lap—and sometimes as a terrified passenger, albeit eagerly so, as I turn a corner into unknown territory.
"This is where I find my juice—in problem-solving through my art—whether working within the parameters of architect’s dimensions, new materials, or designing public art that will speak to and reflect the community of users in a building or space. There is magic in creating a conceptual design and then getting to figure out how to fabricate it, draw on fabricators as needed, and bring a piece to fruition."