My practice explores the concepts of still life, semiotics, visual communication, pop culture, and appropriation through printmaking. I am interested in the role of signs in the digital age, in which no one has ownership of image, and how then the creation of art becomes a derivative process of compilation. 

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In my current body of work, I create large-scale reduction woodcuts that I print by hand. I employ the historic conventions of still life painting as a setting in which metaphorical signs and hidden truths are meant to educate the onlooker.

Central to my practice, each work is a multiple. However, the nature of reduction printing inherently limits it to a fixed edition. By the final layer, the matrix has deteriorated to the point where it is unusable, making any return to previous layers impossible.

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In the current age, where no image exists singularly and information is constantly reproduced and reshaped, where does print work fit? What is the importance of making prints by hand in the 21st century? Who owns images and what control do we have over them?