Each etching begins with a copper plate coated in ground. I draw through this layer, exposing the metal to acid which bites into the surface, creating the lines that will hold ink. The aquatint process adds tonal depth — a dust of rosin melted onto the plate creates areas of rich, velvety shadow.

After printing on dampened deckle-edge paper, I hand-color each impression individually with watercolor and gouache. No two prints are identical. Each carries the specific energy of the moment it was touched.

My oil paintings grow more slowly. Layers build over weeks, each one deepening the luminosity. The botanical forms are rendered with precision while the backgrounds breathe with atmospheric softness — a meeting of the observed and the imagined.