By dissecting prints taken from basalt stone textures, imaginary landmasses are created from paper.
A slice of basalt was inked and printed by hand before being cut out and layered atop Japanese washi paper. These fragments of earth captured in ink seem to float amongst the subtly rippling texture of the handmade paper.
These two artworks have a yin-yang relationship, a pairing of compatible opposites.
36”x48” (Each Print), Relief print from Stone
A triptych of prints which emphasize absence and presence, Void represents the interconnection of earth and sky, or the interrelationship between the physical and spiritual. Three slabs of basalt stone were inked and burnished by hand in a manner similar to the tradition of Japanese woodblock printing.
This series of 3 prints is also reminiscent of the Japanese and Chinese saying “see not, hear not, speak not.” It reminds the viewer to live a peaceful life and abstain from negative actions.
24”x24” (31”x31” framed, matted), Relief print chine-collé on watercolor
By dissecting prints taken from basalt stone textures, imaginary landmasses are created from paper. These organic landforms are layered atop bright blue watercolor paintings, representing the pairing of water and earth in a subtly colorful balance.
When looking closely at the land-images within each print, one will notice that each positive image was removed from the negative space of its counterpart. These two artworks have a yin-yang relationship, a pairing of compatible opposites.
64’x24’ Painted Mural
The organic contoured forms which make up this mural are inspired by wind current patterns. The movement of the design ascends upwards, spanning three walls which surround a stairwell. As one ascends the stairs, their path mirrors that of the wind current’s movement.
This mural exists on the 40/41st floor of Ae’o, a luxury apartment building in the Ward Village community of Honolulu.
96"x48"x2", Latex Paint and Sintra PVC Sheeting
The geometry of this painting/low-relief sculpture is an abstraction of the topographic layering of the Kilauea volcano on the Big Island of Hawaii. Kilauea is known as a shield volcano, one of five which comprise Hawaii island.
This piece is publically displayed in the outdoor courtyard of the John Young Museum in Honolulu, HI.
Archival Pigment Print, 11"x14" 2016
Digital print named after a light sculpture I made for my MFA thesis exhibition. Photos of the sculpture can be seen here.
Screenprint, 15"x22", 2016
Hand Screen-printed on archival Rives BFK paper, Limited edition of 5 of each color. 15"x22", 2016
This print is about earth and sky, as the circle is an ancient symbol for both the sun and the moon while the stone texture represents the earth. The circle can be seen as being a full moon, while the pores in the stone surface are stars in the night sky.
An empty circle also references a void, or completely empty space with unlimited possibilities and creative potential.
These prints are for sale at the online store HERE.
24" x 36", Archival Pigment Print, 2013-2016
Recent advents in technology allow for a global interconnectedness through access to imagery of remote locations. We have also been granted new vantage points of familiar places that enrich our understanding of the world we think we know.
Each location in this series has a certain significance to me. The process of using their topographic textures to create abstract compositions unearths a spiritual element of these places that otherwise remains hidden.
These prints are for sale and can be purchased at my store.
22"x30", Relief Print from Stone
In these prints, irregular sheets of stone are inked in an intaglio style, where ink is collected below the surface of the stone. No two prints are alike, as the slab is slowly destroyed by the great pressure of the printing press each time an impression is made.
22"x30", Relief Print from stone
A sheet of basalt is covered with ink and printed in a traditional printing press. As the printing process occurs, immense pressure from the process cracks the stone, slowing destroying the matrix which is creating the prints. Each stone can survive only a limited number of prints before it deteriorates and is unusable. This process encourages the contemplation of the interconnection between destruction and creation.
CONVERSATIONS IN STONE
Various sizes/ Relief Print from Stone
These prints represent a series of conversations between two people. Numerous lines were cut into a slab of basalt stone, each one representing a communicated thought, feeling or idea. While the points of origin are on opposite sides of the stone, the abstracted words mingle and intertwine, creating an intricate pattern of this intimate exchange.
Printed in a process similar to traditional Japanese woodblock printing, a hand-held baren was used to make an impression from the stone.
This series of prints was commissioned by Bank of Hawaii for display in locations around the Hawaiian Islands.
44"x60", Relief Print on Paper, 2014
Created by printing 13 separate blocks of wood in diminishing succession, Erosion references the visual language of topographic maps. After the pieces were printed, they were stacked horizontally with the smallest piece on top, mirroring the print. The wooden forms are the negitive space from Diminishing Sequence.
The three-dimensional form is currently installed in a pool of water, creating a miniature island. Exposed to the elements, the wood has begun to break down, reflecting the way all landmasses inevitably erode over time. This print serves as a record of the island form before its decomposition.
58" x 96", Relief Print, 2014
This print was based on a drawing of an upright rectangle in perspective. The lines that defined the shape's three-dimensonality were removed to create a void, and the geometric form was cut out of a 4'x8' piece of wood.
While bilateral symmetry is used to enforce the feeling of balance, this piece is about negative space and the awareness that comes out of experiencing the absence of information and form.
An experiment in opacity, transparency and density. This work was created by printing a translucent image repeatedly until it built up and created an opaque image.
22" x 30", Screenprint, 2010
Twenty six structures were drawn out and overlaid to produce visions of both distopia and utopia. Printed with white ink on black paper, Babel depicts a distopic world where civilization is piled on itself.
Asgard is constructed out of the same twenty six buildings, but is printed on creme, lightweight paper and presents a more idealized metropolis, where the city is built on a floating island, with structures both above and below the horizon.
A version of this print is available for sale in the online store.
THE SILENT MACHINE
76" x 76", Stencil Release Print, 2010
The Silent Machine refers to our brains, silently processing the world around us, as well as our relationships with each other. Mandalas are typically used to transport the viewer to another mental state. The aim of this piece is no different. While following the contours with their eyes, the viewer's mind explores the connection between the people in the piece, as well as the people in the viewer's own life.
20" x 30", Screenprint, 2011
Starting with a 3-sided polygon at the center, an orb was created by printing subsequent polygons extending outwards until a 19-sided form was created.
This shape was then reflected on both a vertical and horizontal axis to create two different versions, both of which are named after the hypothetical twefth planet in our solar system