Waste pollution is one of the most pressing challenges we face globally. I feel passionately that our best chance at confronting this enormous environmental issue is through creative, outside-of-the-box problem-solving. In my collagraph print work, I utilize found material to give it another life and purpose past its initial practical use. Collagraph printing allows me to engage everyday items, such as plastic bags, tin foil, cling-wrap, tape, and fabric to explore the visual potentials of their textural qualities. My collagraph print work can be seen in the illustrations of the children’s book, When the Little Engine Couldn’t. My upcycled sketchbook work complements my collagraph printmaking process by providing me space to expand my conversation and play with 'trash'. I have focused on imparting my passion for incorporating trash into the arts throughout my years of educational work with youth and adults, mainly in the refugee communities of Denver, Colorado, USA, and Tel Aviv, Israel. For my Master’s Degree in Expressive Arts in Coaching, Consulting, and Education at the European Graduate School in Switzerland, I am developing original K-12 curriculum which intertwines visual art, movement, and scientific study. My goal is to help students grow in their awareness of the impact that our actions have on the health of our planet’s many environments.
Rust and Lace Metal Plate Etchings
I am perpetually intrigued by the ways in which individuals integrate into their sense of self the portions of their identity which they cannot control and did not choose. I explore this subject in my intaglio work by combining architectural imagery with the printing of metal plates which I have either imprinted with lace or rusted with acid. Rust is a biological process that naturally creates color, form, and texture. I utilize rust to represent the nature-based parts of ourselves: the immeasurable quantity of biological processes which continuously shape our reality, such as gender, skin color, and body shape. In lace, I observe the intricacies of a man-made pattern that is passed down through generations. In my prints, I invite lace to engage the questions of inherited social values and cultural structures such as language, religion, and worldview. I find architecture fascinating for the way that it profoundly impacts our inner sense of self and personal history, though it was mostly built, often before we were born, by strangers outside of our individual decision-making or knowing. In my mosaic compositions of architecture, rust, and lace, I create a space for contemplation about how we as individuals actively construct our unique identities by organizing and reorganizing our complex relationships to the unchosen aspects of ourselves.