My artistic practice is a vibrant response to the world around me—whether engaging with social justice, exploring community, or reflecting on the natural environment. I move between contemporary printmaking, paper pulp painting, and painting, guided by what each idea requires. The layered processes of print and pulp root me in material exploration, while painting offers a more direct, gestural, and instinctive conversation with color and surface.

Paper—whether printed on or born from fibers shaped by hand—holds the memory of the natural world and the human touch. I’m most at home using paper as my foundation or creating images from pulp; it feels organic, unpretentious, and alive. I’ve always been drawn to works of art where paper itself becomes part of the story.

While each medium has its own distinct qualities, they share a physicality that keeps me deeply engaged. I often work on multiple pieces simultaneously, allowing for a dynamic and intuitive process. Layering stencils, shapes, colors, and marks, I respond instinctively to the imagery as it emerges.

In papermaking, I create marks, textures, and even text using syringes and turkey basters, guided by the gestural movement of my arm. Many of the same stencils appear across both printmaking and paper pulp painting, linking the two practices. Both are mentally and physically demanding, transforming mark-making into a language of nuanced conversations, unspoken emotions, and silent protests. Colors may clash or converge, echoing the turbulence of the world I navigate—yet within the chaos, moments of stillness and clarity emerge, offering space to pause and breathe.

Exploring these materials and techniques has given me the tools to create distinctive surfaces that reflect the thoughts and emotions tied to both my immediate community and the wider world. The act of making is as vital to me as the finished piece—each gesture shaped by what I see, sense, and feel in the moment.