I have always had an interest in mark making, and for many years envisioned using textiles to emboss paper. After seeing the work of printmaker Betty Goodwin in 2010, I was inspired to explore soft ground etchings with my knitted lace swatches. Since then, I have expanded my techniques to include direct textile relief prints, which allow me to work with larger textile pieces that would otherwise be too cumbersome or expensive to accommodate.

Making art is inherently risky. As we explore and push the boundaries of our skills and equipment there are bound to be missteps and seemingly unsuccessful outcomes.

In the creation of my recent Arts Nova Scotia–supported body of work, “Contexture,” I experienced challenges due to the size of the prints I was creating. As large pieces of paper went through the press they shifted, creasing the last third of the print. I spent a long time fine-tuning the printmaking process.

For me, these areas of damage or wear are a metaphor for my own relationship with my body, and my art-making. I see myself in those damaged pieces. Each injury mended, scars and staples holding things together, extends my usefulness, though not as I was originally created.

These flaws are the catalyst for a new body of work. I hope you will follow along as I explore ways to salvage those damaged prints by mending them, similar to the way you would repair a torn or damaged textile, and to join me as I exhibit the works that inspired me. I would love to have you along for the journey.