Printmaking Artist Statement
I am terrible at confrontation. Making prints in response to a situation helps me to put aside the emotions I have relative to a circumstance. By placing my negative feelings in my drawings, I have told my mother I love her, avoided murdering my roommate’s dog, and sat through many boring family events. When I put my thoughts on confrontational situations into my artwork, I eliminate my need to dwell on these less-than-satisfactory incidents. I take visual elements that I associate with each scenario and combine these elements compositionally to form the main image for each print.
I prefer to keep the exact meaning of my prints somewhat vague. This tactic aids in my avoidance of confrontation while also allowing those who view my artwork to place their own meaning onto the work. The objects in each drawing are connected by a theme, an event, or a person that is bothering me. Gifting a print to an individual related to the event helps me find closure to the incident.
My thesis exhibition includes 21 large format prints. Each print has a minimum of three separate runs, utilizing a combination of intaglio, monoprint, and collagraph techniques. The “key” or main image for each print is produced as an intaglio; then, monoprint and collagraph techniques are used as supportive color “runs.”