In my paper installations, I am interested in bringing form to the intangible. These large-scale compilations of monotypes shift between intention and improvisation as I construct layered, atmospheric wall pieces. The works are contained but also break the traditional frame; they feel both unified and divided, heavy yet light.

This interest in dualities has driven this body of work, informed by the contrasting weather patterns and water levels across the United States. My siblings live in areas of the country that experience fires and devastating drought, while I tackle storms and tornado warnings on the east coast. These experiences, coupled with images of forest fires, storms, and flooding, have influenced the works you see in this series. Whenever possible, I utilize repurposed materials–allowing one piece to fuel the next.

Water, used as subject, medium, and change agent, is an important element of my studio practice. After intense storms and flooding near my home, I began focusing on shifting bodies of water as a metaphor for forces beyond human control, while also considering the emotional impact of these forces. The large scale of these installations is integral to the work, as seen in “Slipstream” and “Breaking Wave.”

"Water's Edge," a site-specific installation at the Northern Virginia Community College, included prints from "Breaking Wave," and allowed me to create a full-gallery immersive experience for the viewer. Although the blue hue of the piece was beautiful in its initial impact, traversing the space made one aware of the vulnerability of the materials. The viewer literally needed to 'tread lightly' to make their way through and around the piece.

For the past five years, I have been experimenting with installations that appear to push off the wall, as though they are resisting their own boundaries. Monotype printmaking is at the core of this work; as I begin my process, a plexiglass plate is inked once, using marks that imply patterns and forms found in nature. I then add water in multiple stages and pull many prints until the ink is fully removed from the plate, resulting in monotypes that appear to evaporate into the atmosphere. The paper is allowed to curve, curl, wrinkle, and warp as it responds to the water and ink.

“Unmoored” documents this process–each vertical print was created from a single inking of the plate, and subsequent additions of water. The prints were then installed to create a “scape” that is almost visually unified, but then falls apart at the seams. "Stratus III”, assembled from remnants of monotypes, also captures an atmospheric shift. This large composite references cloud formations, landscape, and geological forms in its layers of abstract black and white prints.

This body of work was created while in residency at the Virginia Center for the Creative Arts in 2022. As I installed these pieces, I was interested in creating a sense of movement overhead, while also focusing on the translucency of the materials. Heavy clouds, unpredictable weather patterns, and melting glaciers were on my mind as I slowly transformed the space.