Reproduction Prints

These prints grow out of my ongoing practice of drawing, painting, and looking closely at the landscape. Many begin with drawings made while traveling—along Lake Superior, in the woods, beside lakes and rivers, and in other places that have held my attention.

The prints are not reproductions of paintings. They are works conceived and developed specifically as prints, carrying the immediacy of drawing into a carefully considered physical form. Color, gesture, memory, and observation overlap; the landscape becomes less a description of a particular place than an accumulation of experience.

I produce each work entirely within my studio, from the original image through the finished print. I prepare the files, make the color and tonal decisions, select the papers, and print each work myself using archival pigment inks and fine-art papers. The printing is not simply a means of reproducing an image; it is part of making the work.

I treat my digital prints as open editions. Because a digital image does not deteriorate through printing in the way that a traditional printing matrix can, I see no reason to impose an arbitrary scarcity on the work. Each print is produced and signed by me.

I think of these works as intimate counterparts to my large-scale paintings: smaller in physical scale, but arising from the same questions about landscape, memory, change, and the experience of being in a particular place.

iPad Prints

These works are made directly on the iPad. They begin as drawings and paintings made with light, color, line, transparency, erasure, and gesture—using a digital tool much as I would use any other material in the studio.

They are original works. There is no painting, drawing, or photograph somewhere else from which they have been reproduced. The work originates digitally and exists first as an image made on the screen.

Printing gives that image another physical life.

I produce each print myself in my studio, making the decisions about scale, color, paper, surface, and tonal relationships that determine how the digital image becomes a physical object. The finished print is therefore not simply a reproduction of something that exists elsewhere. It is the material form of a work whose origin is digital.

I think of the digital image and the printed image as two states of the same work. One exists as light; the other as pigment on paper. Each has qualities the other cannot possess.

These prints are open editions. Because the digital source does not deteriorate through printing, I see no meaningful reason to manufacture scarcity by imposing an arbitrary edition size. Each physical print is produced in my studio using archival pigment inks and fine-art papers and is signed by me.

The technology is contemporary, but the activity is very old: drawing, looking, remembering, making marks, changing my mind, and finding an image through the act of making it.