I studied as a printmaker. Intaglio, block, screen. In printmaking, you work in states: pull a proof, cut more into the plate, pull again.

I paint the same way, additive and subtractive. Layers go down, then I take the
wall sander to the whole thing and flatten it out — what survives is the next state. Water as resist. Combs dragged through wet paint. Then a resin coat.

Before this, I spent years in art department in New York and LA — set design, prop-styling — on commercial and film shoots. That work was about surface and
delivery. Both are still in the paintings.

The originals are one of one. There's no second pull. Prints are limited, archival
pigment on paper, taken from the same-numbered original.