In my realist-type days working in painting and drawing and overlaying collages with hand-colored embellishments, I sometimes wanted to break away from tightly controlled work. My introduction to printmaking was with drypoint on copper and etching. Mark-making onto these metallic surfaces seemed a perfect transition into the possibilities that a matrix provided. Suddenly, a whole new level of participation in an original idea, technique, and improvisation opened before me. I am convinced this is something that every printmaker has experienced!

I love going beyond realism, choosing the best printmaking technique to suit the image, then reworking the plates until something is finished. The many proofing states keep adding fuel to the fire, because so many approaches can be tried without losing the original image.

My favorite techniques are still in intaglio/etching, along with any type of relief printing, and collagraphs. They all involve 3-D effects, as well as design, and endless color patterns and overlays.

More recently I have become fascinated with abstraction; in particular with collagraph plates. In many ways the designs are influenced by actual patterns that emerge as the inked plate passes under the roller of the press. I like inking the same matrix in totally different surfaces and materials.

In the past 15 years of teaching eight different methods of printmaking at The Baltimore School for the Arts, I have never grown tired or bored with the medium. The students are enthusiastic and curious. Their interpretations of assignments continue to keep me intrigued at the freshness of printmaking for newcomers. In addition, I value the stimulation of participating in all sorts of art workshops, either as an instructor or as a student. It is a way of re-assessing my direction and acquiring new approaches and techniques.