Seeing the world through the architect's eyes, I was drawn to the medium of printmaking as a way to express the phenomena in mundane structures through changes in light and shadow, colors, contrast, etc. Recently, however, in keeping with my longtime fascination for systems and their logical organization, my work is becoming serial and somewhat like solving a puzzle. I ask myself a question: ‘How many landscapes can I reconstruct with one original landscape?’ (Possible Landscape), or ‘How many ways can a house be unfolded flat?’ (Unfolding series). The answers are not found in a magic number but in the expression of the multiple ways and their deployment.
At the core of printmaking lies the notion of ‘repetition’, through the use of a matrix. But just as fundamental to printmaking is the notion of ‘variation’ inherent to the fact that there are more than one, and through the monotype where variation gets pushed to its limit. In my serial work, particularly in Unfolding, I use repetition (repeating matrices) to express lineage and affiliation within the system but also superposition and juxtaposition to reveal variations and understand logical sequences. As I develop the series and its organization, I try to push the system to its breaking point and in the process not only expose relationships between the components but also highlight abnormalities and aberrations within the system.
Solving problems through systematic work is certainly rigorous and can be obsessive. It is important for me to balance this aspect of the work with decisions that lie outside of the systems such as the choice and use of colors, or variations in the paper, or to convey the feel of the hand through the drypoint technique for instance. All of which introduce a more gestural and unpredictable element and hopefully enable the viewer to have a deep and rich connection to the work.