LANDMADE MONOPRINTS” is a series that is the genesis for my most recent work  shown at the Campus Gallery, Georgian College in Barrie October 15th to November 8th and The Artist Project in Toronto in February. The selection of monoprints seen here includes those just shown at the Campus Gallery.

To take a look at the full series you can see the  catalog online at Just type in the title and my name or

As noted in the catalog I have been drawing from the photographs of John Macfie who has given me permission to do so. I have notated here which images are drawn from John’s work with a J.M on the title line. The catelog also has notation to this effect.

The Unique Works shown with the Monoprints see  “Landmade” Exhibit at Campus Gallery: Mixed Media Panels in the Exhibition”.

The monoprint series was a couple of years in the making finally finishing up in 2013 when I started to discuss showing it with David Kaye Gallery in Toronto. “Landmade Imagining”  will be April 2 to 26, 2015, reception: April 11, 2-4pm. The invite is in the “Upcoming Events” page.

When I began Landmade Monoprints I had already completed another series of monoprints called Boreal Scratch Monoprints. Process and experimentation had already expedited change in my mixed media panels. Therefore moving into monoprints was a natural step: I love printmaking but did not want to make editions of my work anymore.  Monoprints are unique prints although made by printmaking techniques designed for repetition rather than variation. A drawing can be printed variously to create another independent image – not a new idea but a place to start. I made three loose crayon drawings and a fourth that was a repeated paper-cut design from just a doodle. These designs were shot to screen and I proceeded to print them in various colours with reductions of the print design, and other manipulations to develop what I hoped would be a dynamic organic environment. I printed about fifty sheets of 30″ x 30″ creme BFK Rives paper  – many of course did not make it.

My next step was creating unique settings in these environments. Another three drawings and round of printing, choices of colour, positioning and modification followed. Finally I got to creating unique images for each print. Here I found that the drawings I had prepared did not work alone; I had to add elements such as paper-cuts, textures and direct drawing additions.

I worked on the Landmade series as long as I could until my partner and I closed our printmaking studio in the fall of 2013. By that point I had done what I could with the series. While I still had more prints to work on I had to move away , look for new imagery and new ways of dealing with it.

Settling into a new studio at home after leaving our much larger printmaking studio offered something I did not expect. I had much less space but now I had more time and opportunity to work. Soon enough I was developing a new body of work. I would recommend doing  monoprints or something like their process to anyone wanting to move things forward but not sure just how. The slide show that follows is representative of this series of twenty-nine prints.



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