My current work explores my fixation with the anxieties that result from the ambivalence of my inner-dialogue.  I am fascinated with what this insistent self-questioning can reveal about my identity and how mental uneasiness can manifest itself physically.  My introversion and obsessive inner-dialogue have inevitably led me to create fictitious self-portraits.  In these portraits, my mental angst transforms into physical duress through accidents, mishaps, dismemberment and eventual repair.  Many of these self-portraits are large scale, meticulously carved woodcut prints depicting these scenes.  The process of print is inseparable from my experiences since the nature of print harbors innumerable minute decisions.  My particular interest in this body of work has been with the effort to create woodcut prints that defy the typical marks and style of woodcuts.  Inconspicuous unnecessary struggle plays a major role in both the imagery and process of the work.  Each print media has its own unique set of marks that help it to be identified, and it is through this jarring of the identity of the print itself, that I find such a rich ground for discussion of the identity of the self.     

                I have chosen the woodcut as a central process to my work, as the natural qualities of wood make it an extremely challenging material to work with.  I am interested in exploring how such an antiquated medium can still retain its validity in contemporary times.  To counter-act the large scale vivid woodcut images of trauma, are modestly sized screenprints.   I depict myself attempting to put myself back together in these prints. I sew dismembered limbs back on, and pick up the pieces of myself that have been strewn around me. I am extremely interested in the physical investments that each print process demands, and how these can be central to the conceptual framework of the final print.