Photographs inspire my etchings and also serve as a key foundation for my art. The imagery I use originates from my own photographs and those of other artists. I also conduct research into the photographic archives of universities, historical societies, museums, and foundations.
My etchings create a convergence between visual gravity and the floating narrations between space and time. I examine familiar scenes that mask the splendors of life that hide behind our personal assumptions . . . behind the things that we frequently overlook as a result of our neglected ways of perceiving what is very often directly in front of our eyes. Ironically enough, I blame our inability to see the phenomenology of connectedness on an infatuation with and addiction to the newer technologies of communication.
My etchings scrutinize familiar situations in architecture, society, religion, history, art, and science. I hope that those who view my work will focus upon the infinite things that they fail to comprehend on their journeys through life. I manipulate geometric form, line, light, color, texture, and the relationships between positive and negative space in order to create both illusion and reality in both the real and imaginary worlds.
MY PRINTMAKING PROCESS
I first interpret a scene through several pencil and ink drawings. I then file the sides of my zinc or copper plate and coat it with a substance of petroleum and beeswax, which dries overnight. Next I gently transfer my original drawing in reverse format onto the plate and go over my lines with ...
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