
I love screen printing and printmaking! I’ve been making prints for over 25 years … follow #BeneathTheScreen to see what I’m up to in the studio.
The Hot House series combines screen printing, gelatin printing, drawing, spray paint and collage to create small, hot compositions that explore bioluminescence and are inspired by the way that bees see the world. These mixed media pieces fluoresce in blacklight and are designed to shift and change in different colored light.
































Screen prints I made for Yucca Fountain…
Screen print with hand cut rubylith & paper positives, made using the silkscreen monoprint process, 2022
Silkscreen monoprint allows for variation within edition - ink is painted on the screen before pulling the print.

DQ softserve cone in blacklight.
Cowgirls screen print made with hand cut rubylith stencils, 8 colors, 2 split fountain fades, 2021
Cowgirls day-glo edition
Hand cut rubylith detail
Each layer of this print was made with hand cut rubylith stencils
Rootbeer Float, hand cut rubylith screen print, 2019
Drink Soda, hand cut rubylith screen print, 2019
Peach Sundae, hand cut rubylith screen print, 2019
Hot Fudge Sundae, hand cut rubylith screen print, 2019
Pistachio Scoop, hand cut rubylith screen print, 2019
Cherry Scoop, hand cut rubylith screen print, 2019
Chocolate Scoop, hand cut rubylith screen print, 2019
We hand cut and mounted a small number of the original print editions on birch plywood


Atomic Fireball, hand cut rubylith screen print, 2019

Botanical Yucca, hand cut rubylith screen print with metallic ink, 2019
The Sleep of Reason… and ongoing (forever) project:
The Sleep of Reason reimagines Francisco Goya’s 1799 print series Los Caprichos as large-scale neon posters.
Contemplate the absurdity of reason and the folly of enlightenment in your black light grotto: the world is turned upside down and absurdity rules. We experience, simultaneously, horror and hilarity, disgust and enthrallment, bewilderment and anxiety. Notions of social structure, cultural conventions and appropriate moral behavior are abandoned; blasphemy, forbidden actions, the sexually deviant and scatological are brought out from the shadows and embraced.
In this topsy-turvy world where boundaries between reality and fiction, truth and fantasy are blurred, we are given a new perspective. My neon screen prints are an homage to etchings that remain startlingly relevant today.
Created using hand cut rubylith stencils, the production of these prints is itself an exercise in absurdity. Near countless hours were spent cutting each and every detail. Some of Goya’s etchings are recreated verbatim while in other prints, figures are removed from their original compositions to create new arrangements.
Made using fluorescent inks, the prints evoke a sense of the psychedelic and are meant to be viewed in black light. Even in normal light settings, the glowing, abrasive color palette provides just the right visceral reaction and retinal burn.
Exhibited at Wheaton College’s Beard & Weil Galleries in 2017 and at The Trustman Art Gallery at Simmons University in 2016.

Bravo!, silkscreen (hand cut rubylith stencils) on mylar, 2014
Bravo! (detail, blacklight)

Can't Anyone Untie Us?, silkscreen (hand cut rubylith stencils) on mylar, 2014
Can't Anyone Untie Us? (detail, blacklight)
Can't Anyone Untie Us? (detail, blacklight)

Big Gusts, silkscreen (hand cut rubylith stencils, drawing/blockout fluid) on paper, 2016

Big Gusts (detail, blacklight)

Big Gusts (detail, blacklight)

Now They Are Sitting Well, silkscreen (hand cut rubylith stencils, drawing/blockout fluid) on paper, 2016

Now They Are Sitting Well (detail, blacklight)

Now They Are Sitting Well (detail, blacklight)

Sitting Well, silkscreen (hand cut rubylith stencils) on mylar, 2015
Sitting Well (detail, black light)

What a Tailor Can Do!, silkscreen (hand cut rubylith stencils) on paper, 2016

You Will Not Escape, silkscreen (hand cut rubylith stencils) on paper, 2016

The Dance, silkscreen (hand cut rubylith stencils) on mylar, 2015
The Dance (detail, black light)

What One Does to the Other, silkscreen (hand cut rubylith stencils) on mylar, 2014
What One Does to the Other (detail, black light)

The Sleep of Reason, silkscreen (hand cut rubylith stencils, drawing/blockout fluid) on paper, 2015
Blow (black light), silkscreen (hand cut rubylith stencils) on paper, 2016
International Art Delegation basking in the glow of the black lights at Wheaton College <3
The North 40
The source of inspiration for this series was a family property in the Adirondacks - a wild place full of giant king-of-the-forest pines and all sorts of animals, birds, amazing plants, flowers and mushrooms. All the deep woods weirdness you can handle!
The prints were created using hand cut rubylith stencils in combination with drawing & block out fluid.
Exhibited at the Albright Gallery in Concord, MA in 2013.

Dreamscape in Technicolor, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape in Blue & Yellow, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Things Long Dead, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape in Blue & Orange, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape: The Widow Maker, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape: Deep Woods, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape: Twin Sisters, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013

Dreamscape: The Pines, silkscreen (hand cut rubylith stencils, drawing/block out fluid) on paper, 2013