Autumn Berries
Autumn Berries

12.75"x13.25", five-color hand-carved woodblock print, 2017. 

This print is an interpretation of a tree I photographed while visiting the beautiful Missouri Botanical Gardens. 

Hidden Life
Hidden Life

11 x 14", three-color hand-carved woodblock print, 2017. 

This print was created for Strange Worlds II, an international print exchange and exhibition of works inspired by sci-fi pulp in St. Louis. I chose to render an imagined encounter in a surreal world between two microscopic real-world creatures: tardigrade vs. virus. The tardigrade, nicknamed the "Sea Bear", is one of the most invincible animals on earth. It can survive boiling temperatures, the vacuum of space, and years without water; however, it is susceptible to viruses. It is left to the viewer to decide who wins! 

 

Touch-Me-Not, Before
Touch-Me-Not, Before

11 x 14", woodcut, 2017.

This is the mimosa pudica, also known as the Touch-Me-Not plant. This is the plant in a state of ease and comfort. When threatened, the Touch-Me-Not closes in on itself and wilts temporarily. When the threat has passed, the plant stands open and tall again. 

Touch-Me-Not, After
Touch-Me-Not, After

11 x 14", woodcut, 2017.

This is the mimosa pudica, also known as the Touch-Me-Not plant. This is the plant after being touched. When threatened, the Touch-Me-Not closes in on itself and wilts temporarily. When the threat has passed, the plant stands open and tall again. 

Lake Como
Lake Como

9.5 x 12", lithograph, 2017.

This technique applies lithography principles to pronto-plates, which are suitable for printing on letterpress proof presses. This was drawn onto a pronto-plate with conte crayon and ballpoint pen, and then printed with oil-based ink onto paper. The scene is drawn from a photograph I took in May 2017 from my campsite at Lake Como in Montana.

 

The New Normal - Blue
The New Normal - Blue

11 x 15", screen print, 2014.

The Year 2100: In this dystopian future, many creatures cannot survive solely with the tools evolution has provided them. Evolution could not keep up with climate change, and whole species are dying off. These robotic koi swim among the ghosts of their unaltered comrades.

 

The New Normal - Orange
The New Normal - Orange

11 x 15", screen print, 2014.

The Year 2100: In this dystopian future, many creatures cannot survive solely with the tools evolution has provided them. Evolution could not keep up with climate change, and whole species are dying off. These robotic koi swim among the ghosts of their unaltered comrades.

 

Birch Bark
Birch Bark

8.25 x 25", reduction woodcut, 2017.

This print is an exploration of the textures of birch bark. I experimented with carving based solely on a loose plan, and allowed myself to become lost in the lines of the bark. 

Indy 500
Indy 500

5.5 x 7", mezzotint, 2013.

I've been attending the Indianapolis 500 with my dad every year since I was eleven years old. The Indianapolis Motor Speedway and its patrons make the event what it is, and this print is me paying homage to them. 

 

Held in Time
Held in Time

10.75 x 13.25", drypoint in sintra board, 2010.

 

Lily
Lily

15 x 17", monotype on plexiglass, 2010.

 

Ghost Lily
Ghost Lily

15 x 17", monotype on plexiglass, 2010.

 

Late Afternoon, Getting Hotter
Late Afternoon, Getting Hotter

14.5 x 17.5", monotype on plexiglass, 2010. 

This print is about the scorching heat, golden light, and deep shadows of the hottest part of the day.

 

Ash
Ash

5.5 x 7.5", etching, 2010.

 

Roots
Roots

10 x 13", etching with aquatint, 2011.

I took advantage of the process to quite literally etch memories into the trunk and branches of this tree. The tree itself is a Cedar of Lebanon, the national tree of Lebanon, my great-grandparents' home. The symbols etched into the tree are reminders of people and experiences in my life. The aquatint serves to mask many of the details, much as our complete and true selves are masked in social encounters with others. You see the whole tree or person, but the strokes that made them who they are only emerge in pieces.

 

Experiment in Texture
Experiment in Texture

8.75 x 11.5", collagraph, 2010.

 

The Road
The Road

10.5 x 14.5", collagraph, 2011.

 

Love Never Fails
Love Never Fails

11 x 15", linoleum cut, 2010. 

Pre-marriage equality, I wished to show my solidarity with anyone fighting for their right to love. Post-marriage equality, nothing has changed. Love = love.

 

Autumn Berries
Hidden Life
Touch-Me-Not, Before
Touch-Me-Not, After
Lake Como
The New Normal - Blue
The New Normal - Orange
Birch Bark
Indy 500
Held in Time
Lily
Ghost Lily
Late Afternoon, Getting Hotter
Ash
Roots
Experiment in Texture
The Road
Love Never Fails
Autumn Berries

12.75"x13.25", five-color hand-carved woodblock print, 2017. 

This print is an interpretation of a tree I photographed while visiting the beautiful Missouri Botanical Gardens. 

Hidden Life

11 x 14", three-color hand-carved woodblock print, 2017. 

This print was created for Strange Worlds II, an international print exchange and exhibition of works inspired by sci-fi pulp in St. Louis. I chose to render an imagined encounter in a surreal world between two microscopic real-world creatures: tardigrade vs. virus. The tardigrade, nicknamed the "Sea Bear", is one of the most invincible animals on earth. It can survive boiling temperatures, the vacuum of space, and years without water; however, it is susceptible to viruses. It is left to the viewer to decide who wins! 

 

Touch-Me-Not, Before

11 x 14", woodcut, 2017.

This is the mimosa pudica, also known as the Touch-Me-Not plant. This is the plant in a state of ease and comfort. When threatened, the Touch-Me-Not closes in on itself and wilts temporarily. When the threat has passed, the plant stands open and tall again. 

Touch-Me-Not, After

11 x 14", woodcut, 2017.

This is the mimosa pudica, also known as the Touch-Me-Not plant. This is the plant after being touched. When threatened, the Touch-Me-Not closes in on itself and wilts temporarily. When the threat has passed, the plant stands open and tall again. 

Lake Como

9.5 x 12", lithograph, 2017.

This technique applies lithography principles to pronto-plates, which are suitable for printing on letterpress proof presses. This was drawn onto a pronto-plate with conte crayon and ballpoint pen, and then printed with oil-based ink onto paper. The scene is drawn from a photograph I took in May 2017 from my campsite at Lake Como in Montana.

 

The New Normal - Blue

11 x 15", screen print, 2014.

The Year 2100: In this dystopian future, many creatures cannot survive solely with the tools evolution has provided them. Evolution could not keep up with climate change, and whole species are dying off. These robotic koi swim among the ghosts of their unaltered comrades.

 

The New Normal - Orange

11 x 15", screen print, 2014.

The Year 2100: In this dystopian future, many creatures cannot survive solely with the tools evolution has provided them. Evolution could not keep up with climate change, and whole species are dying off. These robotic koi swim among the ghosts of their unaltered comrades.

 

Birch Bark

8.25 x 25", reduction woodcut, 2017.

This print is an exploration of the textures of birch bark. I experimented with carving based solely on a loose plan, and allowed myself to become lost in the lines of the bark. 

Indy 500

5.5 x 7", mezzotint, 2013.

I've been attending the Indianapolis 500 with my dad every year since I was eleven years old. The Indianapolis Motor Speedway and its patrons make the event what it is, and this print is me paying homage to them. 

 

Held in Time

10.75 x 13.25", drypoint in sintra board, 2010.

 

Lily

15 x 17", monotype on plexiglass, 2010.

 

Ghost Lily

15 x 17", monotype on plexiglass, 2010.

 

Late Afternoon, Getting Hotter

14.5 x 17.5", monotype on plexiglass, 2010. 

This print is about the scorching heat, golden light, and deep shadows of the hottest part of the day.

 

Ash

5.5 x 7.5", etching, 2010.

 

Roots

10 x 13", etching with aquatint, 2011.

I took advantage of the process to quite literally etch memories into the trunk and branches of this tree. The tree itself is a Cedar of Lebanon, the national tree of Lebanon, my great-grandparents' home. The symbols etched into the tree are reminders of people and experiences in my life. The aquatint serves to mask many of the details, much as our complete and true selves are masked in social encounters with others. You see the whole tree or person, but the strokes that made them who they are only emerge in pieces.

 

Experiment in Texture

8.75 x 11.5", collagraph, 2010.

 

The Road

10.5 x 14.5", collagraph, 2011.

 

Love Never Fails

11 x 15", linoleum cut, 2010. 

Pre-marriage equality, I wished to show my solidarity with anyone fighting for their right to love. Post-marriage equality, nothing has changed. Love = love.

 

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