Relief Prints
The power of solid color in relief creates dramatic scenes that allow for emotion to take over the piece, prioritizing feelings over existence in real space.
Was This Face Truly Once Mine?, 9”x12”
2025
2024
Badge, 7”x10”
Was This Face Truly Once Mine?
Linoleum, 10” x 14”, 2025
Print displaying Thor raising his hammer to strike down at his younger self, who can only see the hammer he isn’t worthy of.
This work was inspired by both Jason Aaron and Al Ewing’s individual runs on The Mighty/Immortal Thor, which explore ideas of growth beyond your past self, and concepts regarding rebirth through rejection of past beliefs.
The print required three colors in order to read as clearly as desired, two of said colors originating from the same block to make the carving process more efficient.
The negative space behind the older Thor resembles lightning, achieving four layers through two blocks.
A large part of the sketching process was improving the clarity with each pass. The hammer needed to be displayed more overtly to convey the cause of young Thor’s desperation.
Much of young Thor’s design takes inspiration from Esad Ribić’s interpretation of the character, namely the animal fur adorning his cape. This was done to pay homage to some of the inspirations used as well as to provide a visual distinction between the two Thors.
Badge
Linoleum, 7”x10”, 2024
Print made in a week to see how linoleum interacts with hatching in regards to form. Line weight and breakage is explored for a similar effect, as well as how it affects value in an area.
Depicts a police detective, looking at his physically cracked badge. The viewer is led to think about the man’s thoughts as he stares at the rift in his hand.
Form was explored through the relationship between line weight and negative space. Thicker lines result in more definitive form, whereas the opposite can have the appearance of being in motion, stretching.
Line and space breakage was also used for these same experiments. Creating inverse hatching by carving into dark areas gives a more reclusive, shadowed look. Breaking dark lines produces an opposite effect, creating an opening for two spaces to interact and overlap, bringing them towards the front.
Sketch for this piece was drawn quickly. Because most of the piece’s experimentation was with the carving and printing processes, the sketch was left malleable, so that the texture could be created naturally when carving.
A sharpie marker was used as a soft minimum for the line thickness I sought, as a way to unify the piece despite using different techniques in specific places.
