I enjoy working in many types of art media and focus primarily on printmaking. I completed the Professional Printer Training Program at the Tamarind Institute in Albuquerque, New Mexico to master this almost alchemic and dying art form, while learning new, safer and experimental techniques. I believe that open dialogue, collaboration and the exploration of less toxic techniques will keep printmaking alive on a global level. My love of printmaking is based on the materials and techniques utilized, its truly popular nature and accessibility through multiples and mechanical reproduction. I admire its history, full of association with socio-political commentary, unrest, public education and both pre- and post-revolutionary movements, particularly those of Latin America.
My work is influenced and informed by Francisco Goya, the illustrious tradition of Mexican Popular Art begun by Jose Guadalupe Posada and developed by Jose Leopoldo Mendez and the Taller Grafica Popular and many others. Since 1999, I have produced several series of representational, allegorical, socio-political, printed works in book or folio format. My stories often illustrate the human condition and tales of hardship or injustice, but I like to maintain an almost playful air, for palpability and to allow viewers to form their own moral judgments. Topics include the history of a revolutionary indigenous village in Chiapas, Mexico, the murder of a young man over a rental dispute in Brooklyn, the Corrections Corporation of America, the indiscriminate testing of the drug Trovan on Nigerian children suffering an outbreak of meningitis by the Pfizer Corporation and story-telling/mark-making using the semantics of Haitian veves (spiritual drawings). Most recently, I have been working on an ongoing series about the situation of migrants at sea and a series about rural development/land destruction here in Massachusetts.