Biography

After receiving a Bachelor of Fine Arts from Rochester Institute of Technology I began a career as a graphic designer; working at an educational television station. As time permitted I continued to follow my other love, printmaking. Etching increasingly became the vehicle that enabled me to best interpret my visual world. Twenty-four years ago I turned to etching full time.

My approach to printmaking relies very much on combining drawing with the etching process. I am fascinated by the subtle detail, richness, depth and texture that are unique to intaglio etching. Motionless scenes of trees and countryside intrigue me. I translate observations of everyday life and the world around me into images that embody semblances of reality.

Over the past 24 I have participated in gallery exhibitions and juried art festivals throughout the United States. I have won numerous awards exhibiting my etchings and have images in private and corporate collections throughout the US, Canada, England and Japan.

 Creative Process

Intaglio etching and aquatint involve a progression of creative stages employing the use of metal, acid, ink and paper. I begin by coating a flat metal plate with an acid-impervious “ground” made of beeswax and asphaltum. The lines of the image are drawn into the ground using steel needles. The plate is immersed in a Nitric Acid bath, biting the image into the plate.

Tone is achieved with the addition of three to seven layers of aquatint. Aquatint involves spraying a thin layer of paint on an already etched plate. The plate is again immersed in a Nitric Acid bath and the exposed areas bitten.

Printing the intaglio etching involves several operations. Each image is printed with an earthy glow of color which is created by blending three different hues of ink directly onto the plate. The surface is then wiped clean with stiff Tarlatan, leaving ink only in the incised areas. The inked plate is placed on the bed of an etching press.

Dampened Murrillo etching paper is placed on the plate. Felt blankets are placed on top of the prepared plate. Considerable pressure is applied to the plate as it moves through the etching press; the paper is actually forced into the recessed areas to pick up the ink. The great pressure required picking up the ink in the intaglio etching leaves a visible plate mark within the margin of the uncompressed paper. I further enhance the image with the addition of watercolors.