Wasted Breath 2018
Acrylic Resist Etching 18" x 24"
We all meet our ends. Some too soon.
Printed with graphic chemical oil based ink on Rives BFK.
Hideaway Laid Bare 2017
Woodblock Relief Print 40" x 96"
Exposing my hideaway, the place where I find comfort in the tumult of existence. In this large woodblock I wrangle figures and geometric space into an uneasy double portrait.
Printed with graphic chemical oil based ink and 77 pound masa paper.
Certain Absurdity 2019
Letterpress Relief Print 11" x 17" (folds to 4.25”x5.5”)
This mini zine was made as a contribution to the 4th Edition of Detritus, and ongoing Magazine curated and created by Chris Perry. The inspiration for this print was “liminal space” and includes photographs of my recent life as I transition from living in Maine and being in school full-time to living in Western Massachusetts and working full-time. Although the move was not at all drawn out, the effects of relocating left me in a spin that I am only recently winding down from. Other ideas embedded in the imagery include the tension between the that which humans have created and that which we allow to remain.
Printed on both sides, this sheet works as a center spread in the larger format of its intended publication but also functions as a standalone zine with a few folds and a small cut. The interior pages that display the zine were printed in two colors with polymer plates on a Vandercook letter press. On the exterior pages you will find a single blended roll of mostly polymer plates and the title of the piece spelled out in wood type.
Printed with oil based letter press and offset inks on Sunflower 70# Text from Neenah Papers.
Made at ZeaMays in Northampton, Massachusetts, June 2019
Hidden Hereafter 2016
Serigraph 24" x 18"
This CMYK screenprinted photo-collage is printed with water based ink on smooth, acid free paper. There is an edition of 39 prints, however, I had a little snafu in numbering them and signed an edition of 4 prints which I selected to be the best representation of the image which left 35 prints which were signed AP. The prints for sale here are of the 35 prints as the first four have already been sold.
Personal Distance 2016
Hand-cut, Woodblock, Relief Print 42" x 88"
Original proofing done with a steam roller at Waterfall Arts in Belfast, Maine on October 8th, 2016.
Print comes on 77 lb. masa paper and is shipped rolled.
Open Head 2016
Serigraph 24" x 18"
Personally, one of my favorite pieces to create as it was a huge learning experience and my first real delve into blurring the line between dimensions. The process of making this piece started with digital captures of real world things. Photographs of some of my favorite outdoor places were taken and imported in a 3D rendering program. A depth sensor was used to scan my own head and the photographs were assigned to faces of the geometrically simplified 3D model. To create a flat image, faces were selected and separated to allow the model to lay flat. At this point the regular task of process color separation could be completed. To create the 3D head in real life care must be taken to score each fold line before cutting the shape out then edges are matched up and glued together.
Ships flat with matboard or foamcore backing in a clear protective sleeve.
Keep Your Distance 2018
Digital Polyester Plate Lithograph 9" x 12"
Utilizing the tricks of a common optical illusion, this lithograph changes its expression depending on the distance that it is viewed at.
Printed with oil based ink on bristol.
Surface Seeker 2016
Lithograph 11" x 15"
As my second adventure in lithography I decided to use a traditional litho crayon to create the image on my polyester plate. This drawing medium proved to be much more challenging to control on the plate, requiring longer heat setting and more precise ink handling. The design started as a rough perspective study of a block of buildings in my hometown Bangor, Maine. I transferred the general outlines of the structures to the plate before shading and filling in the details. After heat setting the crayon I moved on to wiping and inking which proved nearly tragic as the image began to wipe off indicating the heat setting hadn't finished. I was able to recover the image by filling in the details with crayon again and heat setting once more. After a few proofs the ink was built up to the level I desired and I was able to pull an edition of 18 before the fill and scumming got too out of hand. To clean up the prints I decided to cut the paper to the edge of the structures and streets. 17 of the 18 prints were entered into an exchange portfolio.
Cube 2017
Woodblock Relief Print 12" x 12"
This reduction woodcut is a simple display of perspective. Each print is in a handmade ash and mahogany frame.
Printed with graphic chemical oil based inks on Rives BFK.
Squanderlust 2015
Serigraph 11" x 14"
I completed this serigraph with the condition of using only hand work to create a multicolor image. When screenprinting I usually prefer to use the photo emulsion methods so this print is a bit of an oddball in my collection. Each color represents one of ten hand-cut stencils, each was adhered to the screen, registered, then printed except for the black line work which was made by painting the lines with drawing fluid and flooding the screen with screen filler.
Street Valley 2015
Serigraph 16" x 20"
This print was over a year in the making when I finally printed an edition in early 2015. Street Valley was so long in the making mostly because it was my first attempt at something this large and with so many layers. It all began with a whim in late 2013 to drive to New York city one weekend. I had never been to a "real" city before and this trip left me feeling so free, for having left my home, yet trapped by the immense architecture and hoards of people.
Ships flat in clear protective sleeve with rigid matboard or foamcore backer.
Radix Malorum Est Cupiditas 2018
Photo-Polymer Intaglio 6" x 10"
"Greed is the Root of all Evil”
Printed with oil based ink on Rives BFK.
Out of my Skull 2018
Acrylic Resist Etching 16" x 24"
A foray into technical processes, this print utilizes flow-coat hard ground, Sader soft ground, and CNC machining to create a blueprint like image with a chaotic background. In addition to the two-dimensional techniques the print also is cut and folded into a low polygon model of a skull.
Printed with graphic chemical oil based ink on Rives BFK.
(Prints are sold flat, without the folded counterpart)
Thunder Hole 2018
Screenprint 8" x 10"
Created with hand-painted screens this print depicts Thunder Hole on Mount Desert Island on the coast of Maine. This was created as part of the “Print One Challenge” and the University of Maine, where a handful of students attempted to fulfill all of the requirements of the Print One curriculum in 24 hours.
Printed with water based ink on bristol.
PUNKFEST 8 2016
Serigraph 11" x 14"
This image was screen printed on both paper and shirts for the 8th annual PUNKFEST in Orono, Maine.
Water-based ink on acid free paper.
Interference Pattern #1, 2, & 3 2017
Screenprint with Laser-Cut Frame 6" x 6"
Made as an attempt to add the dimension of time and movement to printmaking these three pieces allow the viewer to interact and spin a gear which slides the front pane in turn animating the image.
Printed with water based ink on bristol and mylar and framed with painter birch plywood.
Golden Teacher 2017
Acrylic Resist Etching 8" x 10"
An exploration of self. A transcendence into the ethereal plane. Looking not out or in but all around and recognizing the continuity in all things. The elevation of self may light the way but it casts shadows as well.
Printed with graphic chemical oil based ink on Rives BFK.
A Derelicts Dream 2016
Serigraph, Cut, Folded, & Assembled
Print 36" x 63"
Assembled figure 10" x 28" x 48"
As an experiment in oversized screen-printing and a huge labor of love, A Derelict's Dream, used a forgotten collage of an imagined, angular landscape as it's base and skin. Built upon this image is a three dimensional figure, wearing this world as it's flesh. In combination with a previous print Open Head a full figure is formed.
How to Induce Anxiety 2017
Book, Hand Stitched Woodblock Relief Print 2.75" x 4.25"
We all have situations which we try to avoid, ones that get our hearts racing and that fill our cheeks with blood. This small book printed in two colors screams situations that I find to induce these effects in myself in bright red while obfuscating the solutions, printed in pale blue. Only by filtering the way we view a situation can we relax our guard and carry on.
Printed with graphic chemical oil based ink and 77 pound masa paper and Rives BFK. Each book contains a Rubylith bookmark for enhanced viewing.
Circumvented Surfaces 2016
Serigraph, Hand-cut and folded elements
3 Panels, Each 6" x 6"
Exploring the realms of surface and form, this piece uses two dimensional and three dimensional elements along with stereoscopic imaging to blur the lines between the intangible and material.
Perspectives 2015
Hand-cut, Woodblock, Relief Print 8" x 10"
A combination of stenciling and multi-block process, this print utilizes color, line, and form to create the illusion of an other worldly place of geometry and space.
Breakwater 2015
Reduction Woodblock Relief Print 8" x 10"
Upon being shown the beauty that is the Rockland Breakwater and the Breakwater Lighthouse I knew that I needed to recreate this image that fills your view as you approach the small structure seemingly bobbing around in the water. This was my very first attempt at a reduction woodblock, a technique of printing then reworking the block in a sequence that builds up the desired colors in the image. The word "Breakwater" printed in the bottom of the image is handset lead type.
The Beast Looms 2011
Collagraph 4" x 6"
As a byproduct of making stencils for use with spray paint I was left with many small odd shaped scraps of chipboard. This print, The Beast Looms, is the product of playing around with these shapes to collage together an image on a cardboard plate.
Exposed Face 2012
Hand-cut, Woodblock, Relief Print 8" x 10"
Water based inks on miscellaneous papers.
Round River 2018
Photo-Polymer Intaglio 8" x 8"
Based upon a photograph of the Mill River in Northampton Massachusetts, this print utilizes a shaped plate and the photo-polymer process to create an abstracted view of the natural world.
Printed with oil based ink on Hahnemühle German Etching Paper.
(T)here 2017
Screenprint 15" x 21"
As further exploration into the techniques used in “Interference Patters” this print depicts the toils of lives entering and exiting the frame.
Printed with water based ink on Rives BFK and mylar.
4 Skulls 2018
Acrylic Resist Etching 6" x 8"
A looming contemplation of mortality and the occult. This was created as part of the “Print One Challenge” and the University of Maine, where a handful of students attempted to fulfill all of the requirements of the Print One curriculum in 24 hours.
Printed with graphic chemical oil based ink on Rives BFK.
Edge Case 2017
Woodblock Relief Print 9" x 12"
An exploration of internal and physical space.
Printed with water based ink on 77 pound masa paper.
Certain Absurdity 2016
Lithograph 12" x 18"
This two-color lithograph was produced by drawing on a polyester plate with waterproof marker, sponging with water, inking, and printing. Certain Absurdity was my first attempt at lithography and I was quite taken by the planographic process. Though I have many examples of the blue layer and gold-yellow layer separately, only five prints were ever made with both. In fact, only two prints remain after the curious disappearance of the other three from the drying rack in the studio.
An Understanding 2015
Hand-cut, Woodblock, Relief Print 24" x 48"
An expansive looking into myself at the time. This woodblock features a bizarre landscape meant to reflect my living space and mental space.
Fox Skull 2014
Serigraph 8" x 14"
As an investigation into monochromatic halftones, Fox Skull is a photo-emulsion screen print of white ink on black paper. A small edition of prints were pulled along with a dozen prints on black shirts.