Cyanotype process photograph showing the original paintings on frosted mylar: a translucent plastic piece of paper, that act as negatives for this light sensitive printmaking process.

I create layered impressions that echo my background in painting portraits. Like a portrait capturing presence, these cyanotypes hold fleeting moments in nature: shaped by light, time, and touch. Deeply process driven, my work draws from early darkroom experiences, where the slow reveal on Ilford warm tone paper and the subtle alchemy of chemicals could transform an image entirely. The square frame of my cyanotypes mimicking medium format film. After earning my BFA in painting, cyanotypes became a bridge between photography and painting: printmaking rather. By sewing my cyanotypes together, I construct dreamlike narratives that feel both familiar and newly imagined to myself and the viewer. I’m drawn to the parallels in pattern, texture, and repetition between these mediums.

This practice also allows me to explore the historical divide between “craft” and “fine art.” Textile work, sewing, and quilting: long associated with women’s labor, were historically dismissed from the canon of high art, while photography and painting were more readily legitimized through male dominated institutions. By combining cyanotype, an early photographic process, with sewn quilted forms, I reclaim these histories and collapse outdated hierarchies.