Clay Monoprinting begins with a slab of clay that becomes the printing surface. I build an image directly on the clay using layers of colored slips and pigments. The image is then transferred from the clay onto another surface, creating a one-of-a-kind print. Because the clay holds traces of each layer, pressure, texture, and previous marks, the resulting image contains variations and surprises that cannot be completely controlled or exactly repeated.

Encaustic is an ancient painting process using heated beeswax combined with resin and pigment. I apply the wax in layers, fusing each layer with heat. The translucent quality of the wax allows imagery beneath the surface to remain visible while creating depth, texture, and luminosity. By combining these processes, I can build, reveal, obscure, and preserve. The clay monoprint provides an immediate, organic image, while the encaustic wax transforms and protects it through layers of translucency.

I am drawn to the unpredictable nature of both processes. Each piece becomes a conversation between control and chance, between the marks I intentionally make and what the materials choose to reveal.