embarking on a new series

April 4, 2014



bags of collected Florida ephemera


Toward the end of last month, I started on a new project of cutting down several large (for me) 12" by 12" plates that could work in tandem with one another to start a new body of work. I've been unsure of where this new stuff will go, but I know it's been really fueled by texture and color moreso than my work has previously. The richness of memory does still permeate what I'm thinking of when beginning this stage of prints, but I hope to be able to let words fade away and use the power of the forms themselves as the actors in this suite. So far, what I've been able to print has been sparse and needs to be reworked, as I spent all this week with a horrid cold that brought my world to a halt.



one of the proofs of new work: soft grounds of broken palm fronds


I really can't wait to get back to the studio with a clear head (quite literally) and some space between me and this cold. I need some good old-fashioned art time to get out of the funk of being ill!

print work and thought

March 18, 2014



Jaime from P.R.I.N.T. Press in Denton, Texas


Last week, I participated in the Contemporary Print Fair in Austin hosted by Flatbed Press. I got to show my work next to some amazing printmakers and cool print shops from around the entire state of Texas. Not only did I get the chance to share what I do with a new audience, but I got to reconnect with old friends and phenomenal printmakers that I haven’t seen since graduate school. The experience was not only inspiring but also had great little moments when someone would get close to my work and find something meaningful inside of it.



"In The Pines" detail, intaglio, drypoint, chine collé


“You talk like a geologist,” said an attendee, smiling and peering over his large glasses. I’d just rambled on about looking for analogs in the earth’s history that compare to my personal history, roadcuts producing a kind of visual excitement that could spawn years of study. He and his wife, local Texans, know geologists and their way – driving out into a landscape and not only seeing the way it is now, but the way it was. He’d been looking at my portfolio when something I’d said, some romantic notion of the past sticking out like a sore thumb into the present, triggered an excitement in my voice.


I took his words as a compliment, because the work of understanding what I know about geology has been a long road. Though I'm an artist by training, I have a deep reverence for the scientific method. When I first began to seriously study geology, I had preconceived notions that science would be a candle in the dark of my emotions, clarifying to work that seemed full of deep passion and doubt. But geology is not an exacting knife that divides the world into a true and false dichotomy; it can provide structure and knowledge about the world, yet you still must make conjectures in places where not enough data exists. Geology taught me to be okay with the fact that sometimes, I may not know the truth.

New Work Preview

February 7, 2014



This Is My Secret, intaglio, collagraph, type, chine collé, 2014


Here is a preview of some of the new work that I'll be bringing to the Flatbed Press Contemporary Print Fair next week in Austin. I've been working on a host of new prints and have editioned a new plate. I'll also be bringing some framed prints that are ready to go home with someone, so if you're interested in geological-inspired work that throws a bit of memory and text into the mix, please stop by Flatbed next week. I'll be there Friday night and the second half of Saturday. Hope to see you!

Upcoming: the Flatbed Contemporary Print Fair

January 27, 2014



image via Flatbed Press


This event is coming up soon, and I'm very appreciative to be a part of it! I'll be showing with some top shelf printmakers and cool print shops from around the region. I hope anyone around south Texas can make it out to either the preview gala on February 14, which benefits the Serie Project in memory of Sam Coronado, or the fair itself the next day. The print fair will run all day on February 15 and includes 26 participants, with different demonstrations of printmaking methods. It promises to be a good time!

choosing processes

January 12, 2014

As a printmaker, if I could just as easily screenprint text, or even set type or make plates that would emboss text onto my images, why would I choose to use a typewriter?


why drag around this heavy, old thing?


My work has to do with memory, and I tend to link certain places and times with events that I have experienced throughout my life. I got this 1959 Galaxie typewriter for $3 in Yankton, South Dakota, and it has become an important part of my studio routine. The sound of the keys, the physicality of the weight of each keystroke, and the smell of the ribbon of ink illicit specific memories from a time when it was a more commonplace item, not only for communication, but for storytelling. My grandmother in Ohio used a typewriter to write her narratives, sometimes plays or fictionalized stories, and during our summertime visits, I would sit near her, drawing with colored pencils at her desk. The use of a typewriter in my studio today, some 25 years later, unlocks those memories and takes me to a place of early creative practice.


The ability to feed a piece of printmaking paper through the rolls means that I can be incredibly flexible with the text, transcribing the words that I've either written, thought, or dreamed up from a space of nostalgia. I can duplicate words if I want to, as type is a repeatable matrix, but I don't have to constrain one memory to one print.




"Braided Beauty," intaglio, drypoint, type, chine collé, 2014


When a word or phrase calls for it, I don't hesitate to etch it - to literally scratch it into metal and make itself known. Sometimes the handwritten text is weightier than the cold separation of typed text.


detail of "I Drew A Line in the Sand," intaglio, chine collé, 2013


It's fair to say that I have a love affair with things that are old and analog, thus the longstanding devotion to the art of printmaking. I believe the core of that love comes not only from a desire to create something by hand but also to share some small truths about being human.
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