The Faraway Nearby is an ongoing serires of prints, mostly 13x10 inches or 12 inches square. I borrowed the title of the series from a book of essays by Rebecca Solnit, in which she quotes the phrase from a letter written by Georgia O'Keeffe. I am interested in exploring the faraway, the nearby, and the faraway nearby.

I start by drawing in black ink, pencil or crayon on vellum. I transfer the drawn images to screens, and then I pull ink across the screens to print on paper. I print one color at a time on each piece of paper in an edition, building the image from background to foreground as I add successive layers over the course of days or weeks. The prints are often an accumulation of ten to twenty printed layers.  

The screen is a fine-mesh fabric stretched tightly onto a frame. I apply a light-sensitive emulsion to the screen. After the emulsion dries, I place artwork on a light box, and position the screen on top of the artwork. The screen is exposed to UV light, and then the screen is washed. The emulsion washes away from the areas where the artwork made contact with the screen, and the remaining emulsion becomes a stencil. When ink is dragged with a squeegee across the screen it is forced through the open areas of the stencil, producing a silkscreened image.

There is always a process of discovery as a print evolves. In this digital age I am drawn more than ever to the tradition of printmaking, to hand-printing an edition, to revising an image over the course of the time it takes to complete a print. Screen printing combines drawing and painting. I like the challenge of creating a painterly image using a medium best known for commercial applications. 

I print small limited editions. Fine art prints are original works of art, not reproductions. Please contact me for information about purchasing  prints seen on this site.


I coat watercolor paper with a photochemical solution. When the paper is dry, I place found objects on top of the paper and secure them in place with a piece of glass. The paper and objects are then exposed to sunlight. The paper is developed in water, creating a photogram print in shades of blue. I tone some prints to shades of brown and black by soaking them in baths of tea, coffee or wine tannin.