I have always been driven to develop images focused more on the process itself, allowing images to emerge without a preconceived notion of the outcome. For me this process is one of simultaneous observation and participation, adding and subtracting, layering and peeling away, approaching and retreating. Often, before I start a monoprint or a painting, it feels as though the image, although unknown to me at the outset, is somehow already there. Not unlike an archeological dig, my job is to show up to excavate the image or composition and reveal what is lurking beneath the surface. I am unmasking my own process. I layer transparent and opaque forms, shapes and calligraphic marks that go in and out of focus, creating an ambiguous space. My aim is to create an image that reveals itself slowly over time as opposed to being accessible all at once. Collage has been an important part of my work for a long time now. Sometimes there are actual collaged elements in my paintings and prints, but mostly it is a collage aesthetic that I choose to employ. I combine a variety of different printing processes to create my monoprints. I also paint and draw on plexiglass and combine monotypes with the other printing processes to achieve a variety of textures and colors. What I truly love about the various printing methods I employ, is the element of surprise. I work with oil based printing inks, acrylics and mixed media on paper, and use printmaking in a very intuitive spontaneous way, experimenting with traditional methods, such as collagraphs, monotypes, linoleum carvings and a combination of these processes which end up as monoprints. Often I will hand color the prints and they evolve into mixed media paintings and/or prints. My artistic training includes a B.F.A. from The Rhode Island School of Design, and an M.F.A. from Yale University.