Relief printmaking has been the art method that I have pursued for many years. Although I have worked with other processes and mediums, after I tried printmaking, I was completely hooked. I am mostly nature oriented and realistic, at least at the beginning of a project. I try to let the print dictate direction as it evolves.

It is always a thrill to pull the print off the plate after printing, and I usually know immediately if I have a good one. Recently I have been exploring using solar plates to make an etched plate. The plate can be used either for relief, or printed in the intaglio method, or both.

This has opened many possibilities. In 2000 my print of "Tree By the Pasture Fence" won second place in the fine arts division of the Grove City Arts in the Alley art show.

During my college years, I completed an art education minor, but I have never taught art. I did continue my own art education over the years in various university, adult education, and private classes.

In 1968 our family moved to a rural area in Pennsylvania. Here the Appalachian mountain setting and a local artist's enthusiastic teaching and critiques inspired me to get serious about my artistic endeavors. I learned relief printmaking methods from her. During this same time I took drawing classes at a Penn State University branch campus. I knew at this time that printmaking was the art method to which I wanted to devote my interest and energy.

In 1974 this artistic interlude came to an end, when our family moved back to the Columbus area. I continued seriously pursuing art: evening classes at CCAD, and then drawing, and relief printmaking classes at Ohio State University. My children were growing older and needing college educations, so I put printmaking on hold and found employment.

In the summer of 1999, I retired from my job, and joined Phoenix Rising, a printmaking cooperative. The members there have helped get my artistic juices flowing again through their classes, their informal critiques, and in their encouragement.