I became interested in the block print (woodcut and linocut) roughly over twenty years ago when I stumbled upon the woodcut novels of Lynd Ward and Frans Masereel. These were wordless books printed with one image per page. I had been trained primarily in painting throughout college with an interest in narrative works, so when I saw visual storylines presented in stark black and white pictures that somehow transcended the language barrier, I thought I’d give it a go. The medium proved to my liking since I approach art with an analytical mind, oftentimes rendering a piece in my head long before it ever comes to fruition on the paper. There is a slow, meditative process to printmaking that appeals to my temperament. And although I’ve drawn inspiration from different sources, my most recent ideas stem from lyric and poetry. Unlike Ward and Masereel, I choose to often combine text and imagery together, using letters and words as visual shape, as well as meaning. My process is simply to draw out my ideas, transfer them backwards to the block of wood or linoleum, carve away my negative space using a sharp gouge, ink the block and with paper on the surface, hand crank the work through an antique Showcard sign press. The mirror image is thus transferred to the paper through this process. I like the immediacy of creating an image in this way, although there are times when I use multiple blocks or a reduction printing method to apply color to the image. The painting and printmaking methods are both used when I sometimes apply watercolor over oil based prints.