The development of these images can be traced back more than two years when I began pressing flowers and creating sketches from them. I have great interest in the beauty of live, uncut flowers, and how quickly this beauty is transformed as they wilt and decay. After months of sketching flowers, I decided to remove my hand completely, seeing no point in recreating a subject that could stand for itself. I began creating compositions by scanning a variety of flowers layered on top of one another, magnifying and cropping the scans to create many smaller compostions. Next I produced large solvent transfer images based upon those more modest ones. The large transfer drawings led to the current series of etchings. The etchings do not reflect deep space, suggesting their flattened scanned source material: rather, they focus on the formal organization of flattened shapes, patterns, and color. Some of the colors appear natural, and some much less so.

Flowers can elicit and have come to symbolize many different types of emotion: happiness, sadness, remorse, adoration, even anger. As an artist, I intend these images to feel initially familiar to the viewer, but also to stir something new. There are parts of these images where harmony occurs, either through color or through the careful alignment of layers. When creating these images I let the process take over, relinquishing a bit of control, letting the unexpected occur between layers. My own mark becomes invisible, suggesting that the image could have created its marker, rather than the other way around.