Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph.
My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools.
Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on today’s very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of “everyday consciousness”. In fact, my use of multiple etching plates placed on the printing press bed to create a one printed image makes my multiple plate etchings look like a windowpane separated by its architectural divisions.
Areas that inspire me include architecture, history, religion, folklore, ancient culture, mysticism, archaeology, the cinema, and mythology. In my etchings, I ...