My relationship with printmaking began in 2010, with analogue photography. Ten years later, in 2020, without access to a print lab, I began to experiment with cyanotypes. A process I could execute from start to finish alone at home. It was here, in isolation, mixing chemicals, coating paper, and making prints, that I began to develop a new image making practice.

Utilizing the cyanotype method and working with homemade dyes made from the remnants of avocados, beans, and hibiscus leaves, I create prints and paper sculptures that explore principles of resilience, rebirth, and evolution.

Paper is easily torn, destroyed or tossed. It doesn’t stand up on its own. Yet a bend or a cut can change this. Every alteration is a reinvention, and every small sculpture is my expression of the shifting shapes and colors found in the landscape around me. I work directly with the sun and the seasons. Preliminary sketches are limited, and I often work intuitively for long stretches of time, creating, destroying and rebuilding patterns and structures until I am satisfied.  

Cells and organisms; multiplying and developing. An impulse for life. 

Obstructions and barricades, and the ability to advance even when it feels impossible.

The flora of my surroundings; not only enduring but growing and blooming. 

Communicating the feeling of a space, a landscape, a state of mind, is what preoccupies me. At times, I find myself adrift in nostalgia and doubt. My work is a form of navigation; “In The Beginning” and “A Way Through” are manifestations of this need to forge ahead. Through lines that blur, symbols that repeat, gaps and portals.