Printmaking is very process heavy. Like most printmakers, I find and work with an image numerous times before calling it done.   Sometimes the image will appear in my mind and be worked with, manipulated mentally, before I draw it on paper or directly onto the printing matrix.   Other times, I work with an existing image; reworking it several times before transferring it to the plate (or block, or stone).  Once the image exists on the plate the image can be, and usually is, reworked again and again.  Lines can be scratched or etched into the plate and then be partially scraped and burnished out; tone can be added to areas and removed if the effect is not what I want.

Sometimes, there are several "it's dones".  An image can reach a state with which I feel pleased and which feels "finished".  At this point I may print multiple copies (an edition) and let the image stand on it's own.   Then, I may come back to the plate and rework it, adding to or subtracting from the image to create something new. This reiterative process can occur many times producing many different images from a single plate or set of plates.

Since I typically pull a print or a proof of each of the steps along the way, printmaking provides the opportunity to follow my thought process in a way that is unique in the visual arts.  It also allows me the opportunity to deal with concepts like time, movement and change in a more straight forward manner than does painting.

One drawback to printmaking is the need to have access to a press (for intaglio and lithography).  Because of this, my printmaking has tended to occur in spurts.   When access to a press becomes available, I make prints.  The prints presented here, for the most part, predate the paintings and drawings shown elsewhere on this site.