PRINTMAKING

I am a self-trained printmaker with over 20 years of experience working in relief, with woodcut at the center of my practice. Printmaking is not a secondary discipline for me. It is a way of thinking, a method that demands decisions you cannot undo, and a structure that turns time and pressure into meaning.

When I carve a woodblock, my lines follow the contours of the subject, honoring the discipline of master engravers while staying rooted in my own visual language. I build form through patient accumulation, cutting into the block as if drawing in reverse. The image is constructed by what is removed, and that subtraction sharpens my attention. It forces me to commit to the essential.

My prints are the outward voice of the studio. They carry the work’s declarative energy, its public address. The drawings that precede them operate differently. They are quieter, template and rehearsal, where the image is tested, revised, and tightened before it becomes irreversible in the block. Together, drawing and printmaking form a single system: one contemplative and searching, the other decisive and direct.

Scale is part of the narrative. At times I carve monumental blocks that require months of sustained labor, not as spectacle, but because certain stories need physical weight. The carving process becomes a record of endurance, and the final surface holds that history.

Once printed, each run yields a limited edition. Every impression is proof of touch and pressure, and every edition is a commitment to craft, scarcity, and integrity.