Making monoprints offers me a fluid process to investigate color and form; to create new approaches that play with the transparency and overlaying of color. The press bed becomes a site for generating the new forms and structures that drive my overall body of work.

Having recently acquired an etching press in my studio, I am now able to freely explore new ideas and imagery through the printing process. My interest in the various optical qualities that printing brings to my studio practice has acted as a prelude to my painting process in much of my work produced since 2000. The printing process itself creates an intriguingly uncertain moment, a delay between making decisions on the press-bed and then peeling off the print. That space between decision and result is a place for surprises and the unexpected. Because of its frontality the possibility for surprise in painting is more limited, and making monoprints opens a door onto the unpredictable that can challenge my habits as a painter.