Monotypes have a magic that no other medium offers me. Each print is unique, the result of a single pass through the press, and that moment when I lift the paper from the plate is always a revelation. To get there, I have to think the painting backwards: I begin with the foreground and build it up layer by layer toward the background, knowing that what I paint first will sit on top of everything else once it is printed.

I love to layer different colors and textures, letting each one show through the next. I often scratch through the paint and then go over those markings from the back with a different tone or color, creating depth and dimension that reveal themselves only in the final print. It is a process of planning and surrender at the same time.

 

The places in some of these works — a summer in Sicily, the Fairchild Gardens in Miami, a snapshot of my own garden — are memories I carry with me. Working in reverse feels a lot like remembering: the details closest to us come first, and slowly the rest of the landscape takes shape behind them.