My panoramic prints are reconstructed memories of places and the emotional experience of being present in that space. As time and distance remove us from that direct experience of place, our memories change. We reshape the experience with exaggerated details and forgotten moments. The memory that is “etched in our mind” is often a fictitious construction of recollection and longing. The chine collé method of applying color with shaped pieces of thin colored papers enhances feelings of nostalgia and pieced together recollections. These images begin as cell-phone photographs. They undergo a significant transformation during the etching process where they are etched into aluminum in a copper sulfate mordant. This technique exploits the metal's inherent graininess and alters the image in completely random ways. Color is added through the use of chine collé, a process whereby the colored papers are pasted onto the print during printing on the etching press so that they are glued and printed simultaneously.
Woman in Ruins is a panorama of the Egyptian gallery (the Temple of Dendur) at the Metropolitan Museum of Art. It serves as a stage on which to observe the interactions of people in a constructed environment, touching on the sacred and profane, the dramatic and mundane.
Accidental Stories Is a series of collaged etchings with hand coloring. They began as a project to recycle print proofs into something new—an exercise in conservation and re-invention. Without preconceived ideas, the images evolved as tiny narratives—each telling a new, accidental story.
You are Here, is a suite of etchings that explore these issues, complicated by the relationship that people have with their phones while in public. I am interested in how these devices alter the experience people have of a particular place, by either creating a new awareness of their surroundings or by distancing them from their present place. I photograph strangers. I’m interested in people—alone and in groups, especially in public gathering places like fairs, parades, museums, transit stations, beaches, shopping malls. Initially, I’m attracted to the form of the figures, and the feelings a particular posture evokes or the way a group of people form an abstract organic shape as the edges of their bodies merge into one form. I’m interested in how individuals place themselves in groups, how they create solitude in public, how they interact with their surroundings. These images begin as cell phone photographs, which are transformed in Photoshop into high contrast images that are etched into copper plates in a ferric chloride mordant. This provides a beginning layer of imagery, which I then build up with etched aquatints, drypoint and subtractive techniques.
“I think of my art practice as a collaboration between my creative impulses and the techniques I love so much. I don’t think I could express myself the way I want to without the intervention of the etched copper plate, or the digitally manipulated drawing. The process mirrors the content—it’s very much about what we choose to retain, what we let slip away, what we bury, what we reveal, how we build memories and construct narratives.”