Throughout time, oral tradition and myth have been used to connect us to our environment in ways that bypass ‘from-ness’, giving us the literacy of a landscape.  Resulting in a moral, a better understanding of a truth, that allows one to see where they are more clearly.  Where do stories end and works of art begin?  Within this confluence, visuals can generate stewardship.  Using newfound languages, artworks call the audience to respond to environments and alter how they perceive their preservation.  Entrenched in exploration, my works pay homage to landscapes of land, sea, and sky while referencing their dissipation, phenomena, and beauty.  When you have passed through ice-filled fjords, knowing the area is careening, the need to defend them becomes vital.  Places that, if not for these reflections, will be lost with time. 

“Wonder is one of the most powerful forces with which we are born.”[1]  It can be simple to take for granted how much there actually is around us. This is the tether that pulls me towards the unknown, the urgent, and the unseen.  Exchanges are being made every moment within the structures of our landscapes.  We walk pathways littered with softly uttered tales.  “There is a love that no one remembers,”[2] an evocative thought that I continue to consider as a wayfarer.  Through the use of print, personal lore will be voiced.  Printmaking and storytelling share rich histories; a meeting place of innovation and tradition.  Participatory works become protection marks for the sacred corners in our environment. An exoteric recognition and soft-activism. 


Leading us to act for the inheritance we’re leaving; are we being good ancestors?        

[1] Silence in the Age of Noise, Erling Kagge, [2] Jon Fosse