We often see what we want to see, instead of what is there, and to train ourselves out of it is a lifelong effort that I believe is the most healing when we turn inward and use what we find to connect authentically. My art explores this, the decades-long struggle I’ve had to be seen and to see others, through the process of linocut, chipping away at a block of linoleum patiently and precisely until an image is ready to be pressed to print. Being seen is ageless, much like art. There is no age restriction to the process, no real start or end point. It is what connects us, like the music scenes that raised me in the Northwest, like the music scenes I keep discovering, refusing to stop growing and changing just because I’ve grown up. The faces in my work often represent the self, its many layers and how we work to take off our masks and shift our gaze to see who we truly are. The hands are reaching out, giving, the forward momentum of community that starts from ourselves. They’re simple because this is a deceptively simple thing to do, and like linocut, beauty in a simple outcome often comes from the painstaking care of a complex process.
A Linocut is a printmaking technique, similar to a woodcut print, in which a sheet of linoleum is carved into and used as the printing surface. First, the image for the print is designed. Then, the design is transferred onto the piece of linoleum. Parts of the surface are then cut away with sharp chisels. The remaining raised portion of the linoleum sheet is inked with a roller, and then impressed onto paper either by hand or using a press. All prints are printed on Stonehenge Cream paper.