My work often refers to rural culture and natural environment in flux.  Seeing how vulnerable and isolated rural culture and landscapes have become, the imagery I use – wood grain, rope, bones, winter roads, clouds, weather- speaks of frailty and uncertainty where once was tradition and stability.

My approach to art making begins by  looking closely at a subject, methodically creating drawings of the same image over and over to understand my subject better.  I keep making drawings until I can recognize it.  Once the image gains a life of its own, then I can look at it, think about it, and revise it. The revised drawing is now an expression of a new thought, rich in emotional expression and poetic aftermath.

I also leave the debris marks left by erasure or alterations because I see within the history of those marks a richness and depth that happens by chance.  I prefer the restraints of drawing with charcoal, and graphite mixed with organic elements – bonfire charcoal, rust, earth, coffee grounds, infusions from berries, pollen – reserving colour for my prints.  Drawing in black, white and grey intensifies focus on the subject without sentimentality avoiding the temptation to only appreciate the meditative beauty of the subject.

Much the same,  my printmaking practice records objects grounded to the rural environment (grindstones, fence posts, rope, stone walls, planks) and ecology of change (hurricanes, topography maps) using relief, collagraph and polymer plates.  Concerned less with the perfection of the editioned image, prints are created at the press where multiple variations give way to play and exploration of a subject.