Black and white relief print of a landscape with furrows in the foreground, a doppler radar tower and power lines in the midground, and a mountain gap in the background.
A View of Berryessa Gap

2016. Relief Ink on Masa, 15 1/2” x 19 7/8”.

This print discusses the pervasive intrusion of infrastructure and human development into the natural world. Upon further deliberation, what may appear to be a peaceful landscape turns out to be saturated with infrastructure and human influence. The tower at top left contains a spinning radar dish that is transmitting invisible energy through the air. Power lines are easy to spot. The supposedly natural landscape of furrows only exists because the discipline of agriculture invented it. The mountains in the background perhaps have trees that survive only because of the fire crews that work to prevent wildfires.


Beneath the Grid

2016. Relief Ink on Masa, 12” x 16”.

This print superimposes a city grid over a topographic map. The locations are out of context with each other. This gesture is illustrative of the manner in which our urban way of living tends to be dissociated from non-urban aspects of place, such as geology, flora, and fauna. This work also makes use of the apparent layering inherent to printmaking. The city grid bars over the topographic map, suggesting the way such non-urban aspects of place have been locked away and obscured from view.

The process of modernity estranging formerly important aspects of life is reflected in my production method. The blocks (matrices) that produced this work were etched with a laser cutter. This production method, unlike traditional block etching methods, relegates numerous production decisions to software and hides these decisions from all viewers.