I took my first printmaking classes as an undergraduate in graphic design. I loved the physical process of intaglio printmaking, and the way that etching and printing a plate transformed and contributed to an image. I was excited when I discovered the co-op at Highpoint: I could continue to explore the medium in a well-equipped studio, and also get to know a supportive community of artists, experts and instructors.
When I first began working at Highpoint, the rule I set for myself was to avoid anything that felt conservative. After four years in an undergraduate program that was centered on traditional figurative painting and drawing, I was ready for a change. Underlying this change was a desire to replace the primacy of skilled mark making and virtuosity that occupies the attention of many artists with a more process-driven approach. My best work has a sense of being built or engineered, so naturally I have become invested in designing things digitally using a combination of Adobe Illustrator and Photoshop.
I first became interested in sculpture some 25 years ago. After a time, I became frustrated with the lengthy clay to wax to bronze process. Consequently, I switched to woodcarving, a process in which I’m fully involved that moves along at a faster pace. During this time, I also became interested in old film cameras, negatives, and working in a darkroom.
My studio practice is an important contrast to my contemporary life, in which my daily rhythm is continuously interrupted by the immediate demands of digital interactions. When managing tasks on my computer or phone, my movements are tracked, quantified, and monetized within predefined symbols and layouts.