Q: What first drew you to making art—and can you remember the moment it stopped being just a hobby and started feeling like something more meaningful?

A: I have always enjoyed working with my hands, creating things. It’s what comes most naturally to me. I was lucky to have a specialized art high school in my hometown that introduced me to a variety of mediums and potentials of expression through art.

During those formative years, I first encountered printmaking, in the form of linocut and intaglio, and immediately felt a connection with the processes. I had doubts about being able to make art my career, so initially I enrolled in a math and science program at university. That time away from making art is when it became clear to me what I wanted to do with my life. I left that first university, applied for art school and never looked back. Reflecting on the art history I had learnt at that point, the books were filled with praise for painters and sculptors, and works on paper were often portrayed as lesser forms. So, although I knew that I liked printmaking, I first chose to major in painting and drawing. 

However, it was only ever in the print studios where I felt fully satisfied. I took as many print classes as I could, trying to absorb as many techniques as possible, and finally recognized that print was as valid as any other medium. My love of printmaking was solidified, and I have been living a life full of art ever since.

Q: What does the beginning of your creative process look like? Do you start with a clear vision, or let your work lead the way?

A: I start with a semi-formed vision and allow for changes along the way. My work often starts from life drawing sketches, or from quickly sketching down ideas that pop into my head. I work mostly with lithography and relief print processes, and I often print in multiple layers, meaning that a registration system and some initial planning is important. So, my initial sketches are reworked, sometimes cut up and assembled with other drawings until I have a basic idea of the composition. The outlines of the composition are transferred to stone, foil or block and I start my print. I realize that at this point everything probably sounds completely planned out, however, once I start printing, things can change.

After I print the first layer, I look at the image and decide what is needed – each new layer informs the next step and the print changes throughout. Sometimes the finished print is quite true to the original sketches, and other times the results are very, very different. I find it interesting how these changes along the way, also seem to alter the meaning of the work. Many of my prints have open-ended meanings, but there may be a clear distinction in the feeling I get from the work at the start, versus the finished piece.

Q: Has there been a learning experience in your career, big or small, that’s deeply influenced the way you create today?

A: Yes. The biggest learning experience for me, that I am still trying to solve, is how to balance my career as an artist with motherhood. Having children has completely changed the way I make art; in the way I approach the act of creation, as well as a multitude of other factors. Prior to becoming a parent, I used to work with fully formed ideas and plans before starting a piece. 

There was more research and preparatory drawings that went into the initial stages, and the amount of time I could focus on carving or drawing was seemingly endless. I no longer have that time or focus. To try and create in the same way I did before would only lead to frustration and disappointment, and I soon realized that I needed to find a new way to approach printmaking.

Faced with these new life circumstances, I decided to branch out into new techniques and ways of mark-making. Alternative lithography has fit exceptionally well into my schedule, and even though it seems like I may have lost something in the process, I have also gained a great deal. I feel like this new way of working has been freeing for me, helping me let go of the idea of perfection. There is a certain freshness to an artwork that can’t be achieved through meticulous focus. Embracing experimental methods has rekindled a sense of play and creativity in my practice. My venture into alternative lithography, specifically kitchen litho on foil, turned out to have an added bonus.

During university, I studied lithography on stone and plate. Back then, I only knew of traditional lithography, which I believed required harsh chemicals, a professional print studio, proper ventilation, and a press. Because of that, after graduating and working from a home studio, I stepped away from lithography for many years. However, once I became comfortable with litho on foil, I started to reconsider traditional lithography. I wondered if stone and plate lithography could also be done in a non-toxic way at home. After spending a couple of years experimenting, it turns out to be very possible, and I am thrilled to be reconnected with a medium that has always fascinated me.

Q: If time and resources weren’t a factor, what epic project would you tackle next and which part of that dream most fires you up?

A: If time and money weren’t a factor, I would absolutely love to attend 1-3 month an artist in residence program. I have taken part in some residencies in the past and I found them to be the most creatively propelling experiences. They offer the time to leave the rest of life behind, and focus solely on art. The connection made with other artists, sharing ideas and cultures, is invaluable. Each residency I have done has led me to new discoveries as well as the courage to push the boundaries of what I am creating. At the moment, a long-term residency is not practical, however, I really look forward to when it will be possible again. I dream of the dedicated space and time to create monumental prints to the scale I have not yet achieved.

Q: What’s one thing you wish every artist knew about choosing a creative line of work? Do you have any advice you'd like to offer to other emerging artists?

A: I wish I had realized earlier on that being an artist is not just making art. I became an artist because all I want to do is create, but there is so much more required to turn it into a career. I studied printmaking at two universities and most of my education was centered around creating and critiquing work with nothing specific in the curriculum about the business of being an artist. I am not trying to discount the value of my university studies, I feel incredibly lucky to have learnt from so many talented knowledgeable instructors. However, having a better idea of the whole spectrum of positions that an artist must encompass earlier on would have been extremely beneficial. Creating comes easy for me- application writing, marketing, networking, sales, taxes, etc. does not.

There is also the reality of consistent rejection that comes with putting yourself and your art out there. It’s essential to believe in your vision no matter the current response to your work. Often, being turned down for exhibitions or opportunities reflects the preferences of just a few individuals—it can simply come down to personal taste. While it's completely normal to feel discouraged by rejection, it's just as important to learn how to move on quickly and focus on what comes next.