Bow, Monoprint with chine colle, 18"x24", 2013

        From birth onward, we engage in a cyclical exchange of shaping and being shaped by the environments around us. The ever-mutable passage of time renders all moments fleeting, and thus our experiences become amalgamations of these fragments. The effect of time on our environmental and existential state is the locus of my visual work. Memories, dreams, reveries, and the imperfect machinery of the mind ebb and flow between one another through dense layers of process. My content is culled from a codex of landscape, architecture, and artifacts pertaining to methods of experiencing the natural world.

Thematically, I address the conjunction of the apocalyptic and the sublime through modern environmental plights and attitudes. In the past decade, the notion of an impending, environmental cataclysm has been a consistent source of anxiety for the global population. I see a parallel between this anxiety and the works of "apocalyptic sublime" art that were emerging in Britain during the Industrial Revolution. I utilize a wide spectrum of printmaking techniques, both traditional and experimental, to infuse the work with the presence of change and time. Through printmaking, elements are able to be repeated across several pieces, giving them the quality of a recurring dream or half-forgotten memory.  I gravitate towards working in print because of the physical alchemy of printmaking; the genesis of the multiple becomes a visual metaphor for the eroding, shifting earth around us.