My process feels something like walking or breathing, kind of like a map. I pick up shapes and visuals as I experience life. I lean into pictures, with materials or with my environment; reaching, pushing and pressing on subjects and surfaces.
Painting with mono printing feels like a direct form of leaning. I can touch the plate, I can scrub it, dance around on the steel, before it is captured like a photograph and absorbed into the paper. It enables me to throw in layers and make a piece quickly, alongside breath, in and out onto the surface.
Monoprinting is different from other printing like etching, because it allows freedom of movement within the paint, there is no line engraved. It feels extremely interactive as the paint then jumps from that surface to another when the print is rolled.
The process in printing of wet to dry, grounds me in this terrain of soil, soaking up the rain and drying out again when all the life has drunk from it. Except, although the layer of paint seems sincere in my prints, I love the idea that it is very thin, and is almost an act in itself. This really plays into my interest in social acts and what is and is not grounded in our society.
With painting on canvas, in my mind I feel it is somewhat always moveable. Whereas, there is this play in print where it once was full of movement and fluidity before stamped like a footprint that truly sits parallel to the way I view the process of false human maturity.
I enjoy the flatness this process results in, as I feel it relates to old style maps, where big bumpy land is squashed down. I feel often like I am squashing down subjects that are jumping out at me in life. I like to mark them down like a diary of steps I have taken. A print, a stamp, a footprint, all traces come to mind.