BOOK & PRINT

TRADITIONAL BOOK ARTS include printmaking, bookbinding, gilding, water marbling, and paper making. I have tried my hand at many different aspects of book design and construction. I find that books are perhaps the holistic way to combine my many artistic interests including illustration, typography, and traditional craft. 

LITHOGRAPHS

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ABOUT THE PROCESS

Lithography feels like the printmaking method most connected to expressive drawing. For me, it feels like a more direct translation from a sketch than most of the relief techniques I enjoy. I have practiced both plate and stone lithography and have experimented with layered prints that employ masking and traditional water marbling. 

RELIEF PRINT

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ABOUT THE PROCESS

I have worked in many types of relief print but primarily wood cut and letterpress. My letterpress training began in 2010 and in that same year I began commercial work under the moniker Panthera Press. My private press primarily produces custom stationery such as wedding invites, but when I have time I like to experiment with more conceptual prints. 

GILDING

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ABOUT THE PROCESS

Gilding has a long history within the book arts because it has such a powerful effect on the viewer. It is also a craft I find incredibly challenging. Mixing and applying a traditional plaster base for gilding is a difficult process to learn, but worthwhile for the focal point it can add to a design. I have experimented with many ways to apply gold to a design including traditional raised gilding, powdered shell gold, and more modern metallic pigments. 

 

Dirty Money

Currency’s Dark Side

 

Various forms of currency from a variety of cultures and time periods such as wampum beads, cowrie shells, feathers, tobacco, debit cards, digital money, etc. are show suspended in petri dishes. Miniature resin “paintings” evoke the idea that the money is both physically and conceptually dirty. Each petri dish appears like a bacterial swab – blooming with the filth of the many hands that have had a hold on the currency within. It is used for both vital and devious purpose and in some cases bears the marks of its use. To be impoverished is to know intimately that money is both painful and vital. The struggle to obtain it, sometimes through dirty, desperate means, and the difficulty of letting it go are part of money’s dark history.

 

 

Dirty Money

Currency’s Dark Side

 

Various forms of currency from a variety of cultures and time periods such as wampum beads, cowrie shells, feathers, tobacco, debit cards, digital money, etc. are show suspended in petri dishes. Miniature resin “paintings” evoke the idea that the money is both physically and conceptually dirty. Each petri dish appears like a bacterial swab – blooming with the filth of the many hands that have had a hold on the currency within. It is used for both vital and devious purpose and in some cases bears the marks of its use. To be impoverished is to know intimately that money is both painful and vital. The struggle to obtain it, sometimes through dirty, desperate means, and the difficulty of letting it go are part of money’s dark history.

 

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