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There are a lot of printmakers who've made a huge impact on me. There's an annual
printmaking convention that I
would go to as a student called Frogman's in South Dakota,
and Sean Caulfield is one of my favorite printmakers.
I'm also really influenced by some of the impressionists. I went to the Orsay Museum
in Paris this summer
and saw some Van Gogh work that... words can't even describe what you feel when
you see some of that work.
I've always been extremely interested in texture in my work, but because of the
mediums that I'm using,
I'm never really pulling in texture. You know, it's never about the height
off the paper. A lot of the painters that I love are
oil artists. And so I was always trying to
figure out a way to bring that feeling of texture that some of the impressionists got
in with the flat work. So some of the mark making,
some of the stitching that I do in a lot of my later work, that's how I think that
work has really
influenced my own work, even though it's a lot more flat physically.
I've always been all about the training.
It was never about breaking up, it was never about finishing.
It was always about the process and I think that that has really influenced my
work as an artist.
I think it really is all about
each individual mark, each individual decision
kind of honing the craft a lot. There are a lot of things that I make in the
studio that just
fail. I mean like wildly are just dead.
And that's fine, that's part of my process.
On the back of this piece...every piece you
that you make as an artist, you have a memory of. You know how many hours you
spent, you know the decisions that you make.
You look at it and it's like this snapshot of time.
And I think that's really obvious with this piece, that there are a lot of
layers, there are a lot of decisions.
So on the back of this piece, I know that there's actually a piece of artwork
behind it.
Because in the studio I've made the decision to be extremely sustainable.
I have a completely non-tox studio and I reuse
everything. So if a piece dies, that's fine,
it gets flipped over and I draw on top of it. And so I know that
this is part of the history of that piece.