While living in Kyoto, I trained for ten years in the traditional Japanese woodblock printing style known as Ukiyo-e. The technical foundation for my artwork is rooted in that training, accompanied by techniques of contemporary western printmaking. Yet the imagery itself is very different from historical Ukiyo-e.
The process of printmaking is appealing to me because of its inherent surprises. Until I peel away the paper from the woodblock, I really don’t know what the image will look like. There is always a negotiation going on with the material. Each piece of wood brings its own character to which I must adjust each time. I may decide to change the image in order to preserve what the block is offering me.
For me, the story behind the work is very important; there is a sense of narrative that is very private. The feelings and emotions that I convey through these abstract landscapes matter most to me. Almost always my images are of nature, but it is the essence of the landscape that I want to express, not realistic accuracy.