Letterpress

Following my graduation, I yearned to continue the practice of printmaking that kept me engrossed throughout school. Through classes at OTIS College of Art and Design, I was able to expand my knowledge of the medium to include relief printing - primarily, letterpress. Typesetting and plate-printing alike have instilled in me a new love for art-making in the same way that my UI/UX work has done on the digital front. I've since gained immense knowledge on operating and printing on various models of Vandercook proofing presses, and have even taught collegiate seminars on Letterpress printing! I currently volunteer at the Irvine Fine Arts Center in their Printmaking Lab as their letterpress tech, allowing me the opportunity to showcase this phenomenal resource to the greater Orange County community.


Trickle (2014 Senior Thesis)

My capstone fine art project at Willamette University, entitled 'Trickle,' was both a culmination of the skills and practices I had learned, and a fascinating exploration of the industry and professional practice of art-making. This piece encompassed hundreds of hours of drawing, digital editing, acid etching, drypoint, mounting, board cutting, installation, advertising, curation, and evaluation. As a whole, Trickle visually and procedurally embodied my undergraduate career, and is a testament to my love for design, methodology, and organization. My concurrent work in University Communications afforded me the opportunity to brand, market, and advertise the 2014 Senior Show, which had never previously been done by a student, let alone one appearing in the show. Further, with the help of museum staff, I was tasked with curating and installing the show through the Hallie Ford Museum of Art in what was the first student-curated show at the museum.


Undergraduate Work

My fine art practice at Willamette University was sprinkled with work in photography, drawing, collage, ceramics, painting, and even sculpture. However, my time there is truly defined by my absolute love for printmaking - and more specifically - intaglio. Etching, drypoint, and soft-ground became the tools through which I felt I could fully engage an audience, and complemented my love for geometry, patterns, and hard angles while still allowing the flexibility of gestural drawing. Inking and wiping plates, folding and creasing tarlatan, and rolling a plate through the press all became a sort of therapy for me, and I will never stop exploring the medium.