Monotypes

A monotype is a one-of-a-kind print that is added to and subtracted from and run through a printing press numerous times, until a richness in color and texture emerges. 

On a plate of tin, plexiglass or plywood, I apply layers of color which I ‘carve’ into. As the print builds to a crescendo, and my layers move from light to dark, an image is revealed from within. There is a kind of alchemy, or magic at play. No two prints are ever the same. 

I am drawn over and again to the diptych and triptych format. Here, I see an opportunity to juxtapose two or three points of reference, even points of view, not unlike turning the pages of a book to unfold the story.

2020

DRAGONFLY MAPS

In many cultures the dragonfly symbolizes TRANSFORMATION and HAPPINESS. At a time when the world was plunged into a global pandemic, I was seeking a way through the entanglement of fear and uncertainty, and the dragonfly appeared. The delicately interlaced veins of her wings are overlaid with suminagashi prints—an ancient Japanese technique of marbling using sumi ink and rice paper. These pairings create delicate maps that seem to have been made of the wings themselves and that mark the flight of the dragonfly out of darkness into the light.

2019

ABOVE
BELOW

This body of work speaks to the mystery of what lies below and the majesty of what floats above. And we are in the midst. Are we conduits or interlopers? 

Between the stillness of Mt Fuji amidst her ever-changing states, the deep throated whale songs that resound across hundreds of ocean miles, the intricate network of trees in a forest talking through their roots, and dragonfly maps showing us the path from dark to light—these phenomena point to the intelligence of the natural world. As I dive deeply into the dark feminine, relying on my intuition, I expose the dualities of above and below.

2013

PAIRINGS

Dedicated to my twin grandsons upon their entry into this world and to their remarkable parents who brought them here

It is no accident that we find the transcendent in the every day—sometimes ringing out, often quietly buried. When we connect the dots, a larger constellation appears and relationships among things are understood more sharply. With this eye, there is no such thing as the inanimate and even the smallest chore counts. In this, we see the sublime residing in the common.

2007

BIRDS ON A BRANCH

For years I have worked with bird imagery- not to capture a depiction but rather to trace the rustle, the warmth, the shadow the bird leaves after it departs from the branch. Some of these pieces are small, some large, some are mounted on boxes to become more sculptural. This theme has been a reoccurring one throughout the years as I search to touch the ephemeral.

2006

VEGETAL

2005

PERCHED

2004

CROOKED TWIGS

2003

BIRDS ON A BOX

2000

TREES

1999

FALLEN ANGELS

1998

STONES, HILLS, COTYLEDONS

1997

BUDDING

1996

FLOWERS

1986

LUNG PODS