To be an artist working with printmedia today is to have a particular orientation towards replication, distribution, and representation. As printed matter is an increasingly ubiquitous part of our visual culture, printmaking as a fine art continues to expand and encompass a broadening definition. These complexities demand that I question how I see, picture, and frame the world around me.
Specifically, my artistic research and work examines the complex relationship between human beings and nature. While nature may be positioned as a neutral space, it is, in reality, a site of competing stories and representations. From the works of painters and early photographers to movies and tourism brochures, nature functions as a place of individual exploration and reverence, a site of resource and profit, and a respite from daily routines in the search for authentic experience. Inherent in any representation of nature is a simplification of its complexity.
To this end, I am guided in my research by the following questions: what stories shape my interaction with and understanding of landscape and nature? How have cultural and historical scripts, media, and technology disciplined me? How does a lineage of art history influence a particular way of picturing and making images? And finally, what stories do I contribute in my work as an artist to this discourse?
Combining digital and traditional printmaking techniques, these investigations culminate in installations, works on paper, and site-specific art. Rather than a fixed site or a single image, I seek to engage nature as an accumulation of processes, perceptions, and narratives – a dynamic and shifting site open for interpretation.