This body of work began at the microscope, studying Sphagnum moss and other peatland bryophytes. Some samples were collected specifically for this project, while others came from herbarium collections. I started with a dissecting microscope, magnifying up to 40X to observe structural details. Key features were then prepared on slides and examined under a compound light microscope at magnifications up to 1000X. Using a camera adapter, I captured micrographs directly from the microscope, documenting the details of these specimens.
Drawing inspiration from the images captured or sketched at the microscope, I transitioned to large plywood panels to create enlarged, abstracted compositions. I use a variety of birch and maple plywoods. My woodcuts almost always begin with a brush-and-ink drawing, using watercolor brushes and rich black liquid ink, such as Chinese Ink or Japanese sumi ink. I enjoy the freedom of working on a large scale with expressive strokes, making this drawing phase an essential and dynamic part of my creative process.
I love carving woodblocks because it offers creative freedom and blends drawing with sculpture. This physical yet meditative process takes 30-40 hours per block and is my favorite part of producing these large woodcut prints. I use various handheld tools like u-gouges, v-gouges, knives, and chisels to carve intuitively and deliberately, shaping the image as I go. Carved areas become white in the print, while untouched areas remain black, so I constantly balance contrasts of line, form, and pattern. Though I start with a line drawing, the carving often evolves beyond the initial plan.
Once the carving is mostly done, I ink the block using oil-based relief ink and a rubber roller or brayer. I roll out a thin layer of ink on a glass slab, then transfer it to the woodblock, repeating until it’s fully covered. Before printing, I often do a bit more carving. Inking reveals the print’s potential, and I usually find areas that need touch-ups or additional carving.
Once the woodblock is inked, I place a large sheet of paper on top to proof it. A couple of rough proofs are often necessary to prime the plate before printing. Depending on the print, I use dampened or dry Japanese paper, which is thin enough to capture a good impression yet strong from long plant fibers (kōzo). For printing, I use a handheld tool called a baren, applying firm, circular pressure across the paper, followed by back-and-forth movements for even coverage. I have several types of barens for different areas of the print.
Hand-printing these large blocks is both time-consuming and physically demanding. As I work, I regularly lift the corner of the paper to check the impression, adjusting my technique—whether adding pressure or more ink or changing barens. Once satisfied, I carefully peel the paper from the woodblock and let it dry. My editions for these oversized woodcuts are typically small, usually one to three prints.