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All Work
2021
2020
2019
2018
2021

Untitled — 20 x 24 in — Contact solar print on Rives BFK paper 11:24–11:30 AM, March 23, 2021, Berkeley, CA, 2021 — 17 x 23 in. Contact solar print on cotton duck, toned with locally foraged Oxalis flower dye Hollow Water — Indigo + laser print + found paper — 6 x 6 in. Indigo grown in Tennessee. Moving on — Collage and ink on paper — 8 x 10 in. Handmade redwood cone ink from the redwood tree in my yard, found and painted paper, fluorescent orange spike tape.


2020

Fragment Bundle — Red earth & yellow ochre + laser print — 8 in x 10 in. Red earth: foraged in Maui; yellow ochre: foraged in California. Edge of Arago 1 (For Joann) — Found paper, yellow ochre, indigo, red ochre — 8 x 6 in. Yellow ochre foraged in Oregon; indigo grown in Tenessee, red ochre foraged in California; found paper. Flowers for Andrea — Found paper, yellow ochre, Japanese rice paper — 8 x 10 in. Yellow ochre: foraged in Oregon, found paper from various sources. Edge of Arago 2 (For Melissa) — Found paper, laser print, and yellow ochre — 8 x 10 in. Yellow ochre foraged in Oregon; found paper from travel magazines. Edge of Arago 3 (Unfinished Business) — Found paper, laser print, and yellow ochre — 8 x 10 in. Yellow ochre foraged in Oregon; found paper from travel magazines. Ink test — Collage with painted paper — 8 x 8 in. Tennessee indigo and red ochre from Hawaii. Invented landscape — Natural pigment watercolor and charcoal on paper — 11 x 14 in. Venetian red, blue ridge yellow ochre, maya blue. Yard Study 1 — Handmade redwood cone ink and charcoal on paper — 6 x 8 in. Redwood cone ink made from the redwood tree in my yard.
Mound — Handmade ink on paper — 26 x 22 in. Foraged charcoal, red and yellow ochre, Tennesse indigo, foraged green mineral pigment.


Fragments from an Unknowable Landscape — Handmade and foraged mineral pigments on photographs; collaboration with photographer Justin James King — 8 x 10 in each. These prints are available for purchase here.

 

2019

Sempervirens — Handmade redwood cone ink on paper — 11 x 14 in. Redwood cone ink made from the redwood tree in my yard. Invaders — 6 x 8 in. Foraged invasive oxalis flower ink on paper. Counting — 6 x 8 in. Handmade iron and indigo ink on paper. Newcomb Hollow — 10 x 8 in. Tennessee indigo ink and foraged green mineral paint on paper.

2018

100 Days of mark-making I set out to make a painting every day for 100 days. Using a different brush each day, I also crafted my own botanical inks—a highly variable process with many unknowns.  I set up specific parameters to create discipline for the 100 days: I used roughly the same size and type of paper every day, worked in a condensed, consistent time frame. The resulting work encapsulates a moment in time, an exploration of materials, and an embrace of imperfection. In a world filled with pressure to always make the perfect choice, it becomes freeing to embrace the unknown. I consider the work as somewhere between making things happen, and letting things happen. I tried consciously to not let mistakes feel like mistakes, but instead portals to discovery. Handmade botanical inks include: Loquat leaves (from a Loquat tree in my yard) Iron gall (oak galls + iron) Indigo (from various sources) Avocado pit (from compost) Oxalis (sourgrass – an invsive weed in the Bay Area)






A selection of the pieces were shown in a solo show at Morningtide in Albany, CA. Installation photos by Lisa Jackson