1. Name a designer or artist you greatly admire or are most inspired by and why?
I’ve always admired Goltzius. His tonal range is impressive and I get excited every time I see one of his pieces. I’ve always admired his keen sense for detail and composition as well as his ability to keep a patient and steady hand. I feel that he really pushes the limits of line.
2. What are the last 3 songs you listened to while working?
My playlist is always on shuffle. Here’s what was currently played: Codeine- Loss Leader, Isis- Altered Course, The Secret- Death To Pigs
3. What advice would you give to a new graduate or designer just starting out?
Every artist is different and there is no “how-to” on creating steady and solid work. One method that really helps me is working on multiple pieces at once and setting goals or due dates for myself. This will help you discover more about your body of work and develop your portfolio. Don’t be afraid to experiment or limit yourself by medium. For example, sculptures can become drawings that can turn into a book of paintings.
4. What was the best piece of advice anyone ever gave you about being or working as a designer/artist?
I think the best advice I was ever given was to satisfy myself and to be honest. Moving forward with a vision and a goal has always been an important facet in my personality and work. I push myself to be more intense, putting lines closer and closer without letting them touch. My main concern is to build a unique palate of grays, which in turn makes the black & white parts of the composition an oasis for the eye. Working with wood has taught me a lot about myself. Sometimes the woodgrain is too pronounced and overpowers my clean lines, but its something you have to either embrace or get rid of. For always wanting to be in control of the lines and order of cuts, this plays an integral role in the final piece. My clean controlled lines battle the ‘out-of-my-control’ woodgrain. Seeing the image come out different than expected is the best part because I can go back and respond to the it.
5. What defining moment stands out as a turning point or important decision in your design career?
Initially, I went to school to become a graphic designer. I loved the look of smooth lines, thick-to-thin text and the overall freedom of mark making you could get with a stylus. The only downfall was that I didn’t like being on the computer for extended periods of time. I just needed to find a process that would change my way of thinking. It was fall of 2010 when I took my first printmaking class with Ke Francis. The whole printmaking process won me over. I loved cutting into the wood and manipulating lines to describe the way I felt towards the subject. Printmaking has helped me become more experimental. It influenced me to flip images in my head while searching for a unique contrast between negative and positive spaces.
6. What’s your spirit animal? Why?
I’d like to think that my spirit animal was some horned wolf or rabid hyena but I think I’m more of a catfish. I’m always moving, adjusting, and no matter how things go—I’ll always find water.
3-color woodblock with watercolored chine-colléd etching on Speckled Kozo
Image: 2x3 feet
Edition of 5
Woodblock print on cotton rag
Image: 4x3 feet
Edition of 10