I’ve always been fascinated by the tools and processes of printmaking. Ironically, I have rarely made prints in “editions” or even in large quantities – precisely what the tools and processes of printmaking are supposed to allow us to do. Almost without exception printmaking techniques were originally developed to allow people to make many copies of a single original.

No sooner had I learned serigraphy (silk screen printing) than I started experimenting with it as a painting tool – squeegeeing paint through open mesh, or making single-use stencils. No sooner had I learned Intaglio (copper plate printing) than I was messing around with photo-engraving and monoprints including chine collé and brush strokes on the plates. No sooner had I started learning block printing techniques than I was imagining methods of making modular plates and goofing around with stitching over top of them.