I gravitate to print because of its historical associations with communication, social engagement, and reiteration. My most recent bodies of work, "Inhaling the Spore" and "Night Writing", both use print media as a means of connecting the work to the authority of the printed mark and historical modes of disseminating information. Printmaking has had a profound impact on human communication, and I regard it as an effective and potent medium for discussing the issues of technology and human connection that concern us today.

The current body of work I am developing is titled Inhaling the Spore. The title comes from my personal experience with my youngest son, who became sick and developed a tumor on his lymph node after inhaling a spore of rare mycobacteria at the age of two. I made my son a quilt to wear during his surgery and hospital stay. The process of creating the quilt was carried through this work as a metaphor, both for his altered and sewn body, as well as for the fragmented nature of our understanding of the way that we relate to our environment.

The exhibition and installation Night Writing include references to methods of coded communication, from the spy code Night Writing to the Victorian practice of sending symbolic flower bouquets, also called floriography. Both of these historical systems of delivering meaning through symbolism often failed to convey messages clearly, and that also makes them an apt representation for how communication breaks down in our contemporary world. By integrating modern modes of creation such as the laser cutter into this body of work, I was able to expand my own definition of print and investigate new methods of multiplicity, communication and connection. The installation Night Writing reads, in code, “left or right we can all see wrong”.