My creative research is informed by my interest in pattern, camouflage, mimicry, layering, and relative scale. I find inspiration both in the natural and human-made world, creating abstract and nonrepresentational works of art that gradually reveal and obscure information in richly textured layers.

Throughout my artistic career, I have explored process as content by challenging the definitions of printmaking, painting, and drawing, engaging in a dialog between traditional two-dimensional media and the shallow physical space of three-dimensional relief. This dialog has evolved into a series of constructed bass-relief paintings in which painterly passages are contrasted with graphic fields constructed out of flat, inked woodcut blocks. Paint is pushed into seams and crevices parallel to inking intaglio plates, enhancing the play between illusionary and physical space.

Since 2000, I have focussed my studio practice on the reduction woodcut. I find its sculptural physicality in combination with its working immediacy very appealing. I am exceedingly seduced by its inherent quality requiring the gradual destruction of the matrix during the creation of the work of art. The reduction woodcut print is born out of a creative one-way voyage that provides constant challenges and requires total commitment to any decision made. the reduction woodcut does not tolerate any detours or returns. Consequently, the reduction woodcut is always a unique, fresh, direct, powerful, and honest expression of the artist’s creative intent.