February 15th ~ April 29th
All of my prints use what is referred to as the ‘reduction’ process, which derives its name from the block being carved away (reduced) as each new color is added to the print. When thinking of this, it might be helpful to imagine that each color is layered on top of the next, and the only portion of the color(s) below that are visible would be the areas carved away (removed) prior to printing each subsequent color. As a result of this process, the block is destroyed with only the final ‘run’ (usually black) usable by the end, so the edition number for each print is truly all that will ever exist. The majority of the prints I create have between 8-10 colors used (sometimes more), so when viewing a final print, it is worthwhile to note that you are actually looking at as many as ten impressions of the block layered on top of each other to comprise the final imagery.
Due primarily to circumstance, all prints are created without the benefit of a press, which results in each print being truly unique due to variations inherent in the labor intensive process of transferring the inked woodblock to the paper by hand. I only use woodblocks in the process, as I believe that while they can be more difficult to carve than linoleum (rubber) blocks, the end result contains subtle patterns from the wood grain that would be unattainable otherwise. The wood I prefer is a high-grade plywood produced in Hokkaido, Japan.
My work focuses on subject matter incorporating both urban life and the environment, and the occasionally tenuous relationship between the two. The medium of woodblock printing is itself an extension of this relationship; working in this medium is subject to numerous variables inherent to carving and printing from wood. Above all, I seek to infuse contemporary sensibilities within what many would consider to be an antiquated art form.
This collection showcases both recent work and a handful of old favorites of mine – I hope you enjoy, and feel free to drop me a line!