works on paper
Crosslight, 2018. Cyanotype, etching, chine colle and collage on Rives paper. 11 x 17 in. Part of a project between Ground Zero Printmakers in Victoria, BC, and Atelier aux Lilas in Paris. Artists were randomly paired to directly intervene on each other's print; interventions exhibited with their originals in a concurrent show at Atelier aux Lilas in 2019.
Circumference I, 2018. Etching, aquatint, drypoint, gampi chine collé on Arches paper. 17 x 22 in. The Circumference series was made during a journey from Victoria, BC to San Francisco. I collected stones along the drive, traced and transferred their shape onto copper plates that were etched and and proofed at the Crown Point Press. Editioned at Ground Zero Printmakers in Victoria, BC.
Circumference: Rising, 2018. Aquatint, soap ground, drypoint on Arches paper. 22 x 17 in.
Circumference III, 2018. Etching, spit bite, gampi chine collé on Arches paper. 11 x 17 in.
Lightfall I, 2018. Etching, aquatint, inking à la poupée on Arches paper. 7 x 5.5 in.
Lightfall II, 2018. Etching, aquatint, inking à la poupée on Arches paper. 7 x 5.5 in.
Soft/ground, 2018. Etching on Rives paper, 10 x 7 in. I carried a copper plate coated with soft ground around in my bicycle panniers for three months over the summer of 2018. These incidental markings are the records of its being scraped, scratched, dropped, and carried.
The Globus Pallidus prints (Latin for 'pale globe') works with an etched image of a contour map combined with blind embossing. The fine lines of the map are layered in soft colours and printed together with an embossed shape, giving the paper itself its own depth and contour.
Globus Pallidus I, 2016. Etching, aquatint, chine collé & blind emboss on Rives paper, 10 x 7.5 in.
Trine, 2016. Etching, aquatint, chine collé & blind emboss on Rives paper, 5 x 5 in.
This series of prints, Phasic, considers ideas of transparency, shifting light and liminal space. Copper plates were printed using hard ground etching and aquatint onto translucent Japanese kozo paper. Recombined in multiple iterations, the prints were cut up, layered and merged to reflect a transitional and shifting light.
Light Fracture, 2016. Etching, aquatint & chine collé on Rives paper, 22 x 15 in.
Tidal Shift, 2016. Pronto-plate lithography, chine collé on Rives paper, 19 x 25 in.
Soft Offering, 2016. Etching, aquatint & chine collé on Rives paper, 10 x 15 in.
Soft Shift I & II, 2016. Etching, aquatint and chine colle. 7.5 x 10 in. each.
Fathom is a series of prints using images of bathymetric maps from Newfoundland's Grand Banks. Printed using Pronto-plate lithography, the images were cut up and reimagined in varying contexts of tidal cycles, lunar patterns, and navigation.
Sea Strata I & II, 2016. Pronto-plate lithography, chine collé on Rives paper, 22 x 30 in.
Orient, 2016. Pronto-plate lithography, chine collé on Rives paper, 22 x 30 in.
Breach, 2017. Etching, aquatint, burnt paper, chine collé on Rives paper, 11 x 15 in.
Praire Section II, 2016. Pronto-plate lithography, chine colle on Rives paper, 22 x 30in.