Through my work, I explore the gulf between two experiences of the world; one presented daily to the senses, the other an unseen collection of belief, imagination, and memory. I position these experiences together not to resolve them, but to consider the relationship between them. I seek to make visible the invisible; the spaces between objects and events, and our awkwardness in describing them, are the subtext of my work. Inherent qualities of graphic media, such as repetition, reversal, layering, and transfer, serve as metaphors for the peculiarity of our daily sensory and mental experiences. The visual language of printmaking is connected to the histories of fine art, advertising, and scientific illustration. I draw on all these sources for inspiration. Printing techniques let me collage elements together seamlessly or leave behind artifacts and traces of the construction process. Repetition is at the heart of printmaking, but my attraction to the multiple comes from the possibility of infinite variation as much as infinite repeatability. Forms recur in my work, suggesting narrative or, simply, movement through time. This recurrence also shows how an image changes as it is transposed into different media. I am more concerned with similarity than with sameness, and a varied family of related images often replaces the edition in my studio practice. My most recent work explores the world of sleep; the scientific study of its physical processes, its importance to our health, and the role it plays in our history and culture. I hope this work will contribute to a larger conversation about the human mind, and how our social environment affects us as individuals.