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I am intrigued by the interplay of water’s fluidity with the solidity of built form, and have been exploring the combination of organic and graphic imagery.

The work is about the concrete here & now juxtaposed with the numinous & unknowable, the tangible & intangible. I am interested in integrating those dualities, and conveying a sense of coming and going.

The geometric frames and angled shapes reference structures, and imply a viewpoint of here vs there, as well as a diminishing perspective that directs one’s view out over the water. Much like one’s instinct to gaze outward, they symbolize a directed view to the infinite ‘beyond-ness’ of the sea — out of oneself and into the unknown.


The making of monotypes and paintings influence both of my practices and come from the same impulse — to utilize both direct and indirect methods of creating marks and applying pigment. With monotypes, I may begin by rolling an under layer, printing a pattern or using a ghost that creates unforeseen results when successive layers are applied. Similarly, I use fluid viscosity marks rolled over with thicker ink, to open up the process of discovery

Indirect transfers from other materials also inform my work — such as wood patterns transferred from rubbings, raised-grain plywood, planks and carved wood cuts. Recently I’ve been working with wood grain to evoke a sense of water movement, which also references growth patterns and the interconnectedness of things.

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Photo by Mark Eclipse