Pink Noise, Landscapes and Moonrises These pieces are abstractions of southern landscapes from the marshes to the mountains. They're a meditation on the power of the moon and the interruption humanity has on our ecosystems. Some works incorporate cut paper, gold leaf, and ink as well as more traditional printmaking processes.
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I’ve spent years making botanical, landscape, and lunar prints. I’m drawn to the moon in all its presentations. I’m deeply fascinated with the lore, mythology, and science of how our environment and biology are affected by the pull of the moon.
Years ago, I had my portfolio reviewed for academic purposes. The reviewer noticed a running theme of shapes and colors in my prints and remarked that they were akin to looking through a thick piece of glass. I was immediately drawn back to my childhood and pieces fell into place. When I was very young, our dining room had a table with a sculptural black base topped by a very thick slab of tempered glass. I could clearly recall the feel of that cool glass pressed against my forehead as I looked through it, captivated by the way the glass changed the light.
It was then I realized that we are captives of our past in some ways. The influence of our experiences never leaves us, and it will find a way to seep out. This realization was the foundation for the moon prints. The full circle of past and present is represented while the context of both is disrupted. The interruptions in this work come in the form of alarmingly bright colors, strong black lines, or the glint of metallic leaf.
The landscapes I draw inspiration from are the landscapes of my past and my present. Beaches, mountains, and wide-open spaces are all represented, and if you look closely, you’ll find some far away cities as well. I moved around a great deal while growing up- I went to twelve schools before I graduated from high school. I was born in Virginia though, and it is here I returned to when it was time to set down roots for my family. Virginia is still here: it is the same, and different. The coastlines have been altered; by storms and by buildings. The oldest mountains are the same, but still always shifting in their slow and careful way. I am grown now, and also still changing in both stormy and careful ways. All of those experiences are here, in this work.
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