Printmaking has been a cornerstone of my practice for some time because I fell in love with the richness of the ink. It is thick and deeply dark. It is sticky and pulls into it all the particles flying around it. It is a testimony of its environment at the moment of press. It is a translation of movement and mark making. It also stains, and dries very slowly. It lingers on the paper and keeps changing. Sometimes, when the ink is used in thick lathers, once it dries, it mimics the iridescent effect of gasoline in water. The nuances of darkness, the patterns of this organic medium are what draws me tirelessly towards printmaking.

In linocutting or monotype, the boundaries of the image are often defined by the rectangle of the surface on which the ink is rolled, ready to be trasnferred to paper. I have taken great joy in trying to expand that rectangle, to use printmaking as a drawing tool.