My natural inclination is to be interested in objects and themes that have been left out of the history of art, feeling a particular kinship with marginalized “craft” materials, and the popular illustrations and folk art of the Victorian era. Like the Victorians, the fragility and brevity of life terrifies me, and one way I cope with it is to make things; thereby proving my existence through the evidence of my labor.

By nature, printmaking lends itself well to the investment of labor, and my current prints support this edict, while stylistically referring to Victorian wood and steel engravings. By scanning original images and extensively retooling them in Photoshop, I create bucolic landscapes of birds, butterflies, and flowers using the tropes of beauty, yet expressing an undercurrent of anxiety in the excesses and the crowding of the compositions. To compound this feeling, I have manipulated a number of these images by piercing them with thousands of holes, suggesting invisible routes made visible, a tangible history of my own industry, while transforming the paper into a lacy map. Other intaglio, screen print, and lithographic prints employ multiple layers of color printing, and were originally inspired in their use of straightforward, declarative text by illustration captions in the moralistic, “Royal Path of Life,” published in 1881.