10 x 8 Monotype, 2020
I like to use cut-outs of figures that I make based on drawings I’ve done from a live model or other images. The ambiguity of the shape, which is essentially a silhouette with very little or no definition, creates interest by making the viewer look closer and wonder who it is and what’s going on. I also use cut-outs of leaves and other shapes I find outdoors.
I hand-press my images using oil-based inks, printing or re-inking 10 or 12 images at a time. I try to work quickly so I stay spontaneous and don’t overthink what I’m doing. After that I re-work the images I don’t find very interesting with pastel, pencil and even alcohol if the ink is still wet, until I’m satisfied with them. I love the decision-making that goes along with that process and seeing the image improve.
Since printmaking isn’t my only medium, I try to work in blocks of several days or 2 weeks at a time—I find that I loosen up and become more experimental when my printmaking is more concentrated like that.
I’ve always been interested in art and have made it a daily practice for many years. I’m drawn to drawing, painting, collage, sculpture and of course printmaking. Sometimes it’s hard to choose which medium to work in but they all inform each other and I notice that when I advance in painting, for example, I see more depth in my prints. The human figure often appears in my work along with elements from nature, such as leaves and trees. I live in the countryside in Quebec, Canada near the Vermont border.