Curriculum Vitae


e d u c a t i o n

Tamarind Institute; Albuquerque, New Mexico
Tamarind Professional Printer, May 2015

Virginia Commonwealth University, School of the Arts; Richmond, Virginia
Master of Fine Arts, magna cum laude, June 2005
Department of Painting and Printmaking

Alfred University, NYSCC School of Art + Design; Alfred, New York
Bachelor of Fine Arts, magna cum laude, June 2001
Department of Printmedia

e x p e r i e n c e

Master Printer,  July 2017 – present
Crow’s Shadow Institute of the Arts, Pendleton, Oregon

Collaborate with nationally and regionally recognized Native American artists and Oregon-based artists in the creation of limited edition hand pulled lithographic prints as well as calculation publication costs of all collaborations; schedule workshops, classes, and prepare demonstrations for tribal youth; maintain, frame, and upkeep permanent collection of work made at Crow’s Shadow Institute of the Arts for both our archive and the archive at The Hallie Ford Museum of Art; schedule and prepare printmaking based workshop for local and regional artists; maintain and upkeep studio equipment and resources as well purchase all consumable materials.

Adjunct Instructor, Printmaking, August 2016 – May 2017
Yavapai College, Prescott, Arizona

Printmaking Courses

Printmaking I & II (stacked course)Fall 2016,

Lecturer, Foundations, August 2015 – May 2017
School of Art, Northern Arizona University, Flagstaff, Arizona

Foundations Courses

ART 135 Fundamentals of Drawing I, Fall 2015 (4 sections), Spring 2016 (1 section), Fall 2016, Spring 2017
Develop and implement foundations level drawing curriculum including material overviews and demonstrations, lectures and presentations, building of technical skill using line, composition and value, and observational life drawing skills.

ART 150 Fundamentals of 2D Design, Fall 2015 (1 section), Spring 2016 (2 sections), Fall 2016, Spring 2017
Develop and implement foundations level 2D design curriculum focusing on the principles of design and elements of art in relation to studio projects, critique structure, and the creation of a rigorous studio practice.

ART 136 Fundamentals of Drawing II, Spring 2016 (1 section), Fall 2016, Spring 2017
Develop and implement foundations level drawing curriculum including material overviews and demonstrations, lectures and presentations, building of technical skill using line, composition and value, and observational life drawing skills focusing on ideation and sophisticated conceptual methodologies.

Workshop Instructor, May 2015
Sitka Center for Art & Ecology, Otis, Oregon
Multiple day workshop

Workshop Instructor, May 2014 – July 2014, June 2015
Pope Press, Olympia, Washington
Developing, leading and promoting singe and multiple-day workshops for youth and adults in letterpress, bookarts, and relief printing for an independent teaching studio specializing in handset type and letterpress.

Faculty Member, September 2005 – July 2014
The Evergreen State College, Olympia, Washington

Printmaking Courses

Individual Learning Contract Sponsor, Winter 2006 – Spring 2014
Faculty sponsor for independent, advanced student work in printmaking and paper arts via student originated individual learning contracts.

Printmaking: Materials, Fall 2008, Fall 2012, Summer (Intensive) 2014
Students learned a variety of technical skills including relief, intaglio, serigraphy, lithography and letterpress applications through two-week workshop-like sessions, each technique building upon accumulated knowledge.

Lithography: An Introduction, Spring 2009, Spring 2011, Spring 2014
Demonstrated contemporary and traditional techniques in stone lithography including crayon drawings, tusche washes, color inking strategies, multiple image registration and photocopy transfer methods. Students also created duotone photolithographs, using a NuArc exposure unit.

Printmaking: Photo-based Processes, Fall 2009, Winter 2012, Winter 2014
Traditional printmaking processes and photographic techniques combined in this comprehensive overview of photo-based intaglio, serigraphy and photolithography. Using computer generated digital positives as films, students prepared and exposed light sensitive copper plates, screens and aluminum plates to create distinctive hand printed imagery.

Printmaking: Letterpress Broadsides, Spring 2013
Focusing on the history of broadsides, typesetting and letterpress within a contemporary fine art print context,  students learned how to handset type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to use color theory principles in their work; in addition, students learned basic image-making techniques including pressure printing and photopolymer platemaking methods, in order to integrate text and image together.

Introduction to Relief Printmaking, Winter 2007, 2010, Fall 2013
Using both wood and linoleum, students learned a variety of printing techniques including hand editioning practices and the proper use of both Vandercook and etching presses, reduction printmaking processes and multiple block methods.

Serigraphy Summer Intensive, Summer 2007, 2008, 2011, 2012, 2013
This intensive focused on hand drawn and digital stencil-making techniques for photosensitive screen printing applications. This course focused on building visual literacy and introduced basic graphic design skills.

The Political Print, Winter 2008, 2011, 2013
Designed as an intensive study of the aesthetics of rebellion and revolution, students studied the history of print as a catalyst for social, political and cultural change from the 18th century to present, creating their own political prints using screen-printing, relief techniques and typesetting.

Letterpress and Book Arts, Spring 2012
Focusing on typography and design applications, students will study the history of typesetting and letterpress within a contemporary book-arts context. Students will learn how to hand set and handle 50 – 100 year-old type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to apply color theory principles in their work. In addition, students will learn basic bookmaking techniques, integrating letterpress printing.

Non-Toxic Intaglio Printmaking, Winter 2009, Fall 2011
Demonstrated the use of Z*Acryl acrylic resist based system and ball ground applications. Other techniques demonstrated included dry point, engraving, etching, aquatint, stage biting, chin collé and a la poupée and multiple plate printing.

Experiments in Typesetting, Fall 2010
This course focused on the history of typography and the study of typesetting and letterpress as graphic art. Students learned how to hand set and handle 50 – 120 year old type, how to properly print and proof blocks of text using Vandercook and Platen Presses, and how to use color theory principles in their work.

Printmaking: Design Practices, Spring 2010
Students will study the basic elements of design, the history of type and color theory. Working traditionally with typesetting and graphic printmaking methods, students will design and create graphic broadsides, posters, pamphlets and postcards.

Printmaking & Modern Design, Summer 2009
Working with introductory graphic design concepts and color theory, students experimented with several printmaking techniques including reduction relief printing, screen printing and letterpress.

Serigraphy for Artists, Spring 2008
Designed specifically for advanced student-artists working in diverse media, this course addressed the addition of screen-printed elements to an already existent body of work. Additional printmaking techniques were also introduced including letterpress, dry point, monoprint and collagraph methods.

Introduction to Serigraphy, Fall 2006, Spring 2007
Students focused on both concept and craft in this beginning level course, refining ideas relating to composition, color and layering techniques; technical skills developed included screen care and proper preparation, stencil making options, registration, ink handling and printing strategies.

The Art of Multiples: Introduction to Printmaking, Summer 2006
Designed as an introduction to printmaking materials and process focusing on the creation of multiples, students experimented with relief methods, screen-printing, photolithography, letterpress and monotype techniques, each technique building upon accumulated knowledge.

The Art of Serigraphy, Intermediate to Advanced, Winter 2006
Focused on both craft and concept, students created serigraphy editions, partook in guerrilla public art projects, read I bought Andy Warhol and The Philosophy of Andy Warhol, studied The Complete Water Based System, participated in lectures, seminars, demonstrations, and critiques, learned various stencil making techniques and registration systems, applied color theory and created color separations using an Epson Stylus Pro medium format printer.

Introduction to Photolithography and Serigraphy, Fall 2005, Spring 2006
Both drawing and photographic image making methods were stressed in these unique yet similar processes; students created multiple layer color prints, developed registration skills and experimented with printing techniques.

 Drawing and Painting Courses

Introduction to Painting, Spring 2014
Focusing on introductory painting techniques using a variety of media including gouache and acrylic paint, students painted from observation using still life on both paper and canvas, the figure, and the landscape; abstraction in contemporary painting was also addressed; class time was devoted to studio work, presentations, demonstrations, and critiques.

Drawing Practices: Figurative Studies, Winter 2011, 2012, 2013, 2014
Focusing on the traditional life drawing practices of observing and drawing the human figure from live models, students used a variety of media ranging from graphite to gouache as they learned to correctly anatomically render the human form.

Drawing Practices: Foundations, Fall 2009, Winter 2010, Fall 2010, 2011, 2012, 2013
This course is an introduction to the principles and techniques of drawing. Students will gain a working knowledge of line, shape, perspective, proportion, volume and composition. Students will work toward the development of an informed personal style, aided by research of various artistic movements and influential artists.

Drawing Practices: Contemporary Applications, Spring 2010, 2011, 2012, 2013
Building upon observational drawing skills, students will work with invented compositions and alternative materials, investigating mark making, collage methods and color theory. Class time will be devoted to presentations, critiques, demonstrations and in-class exercises.

Printmaking Instructional Technician II, July 2005 – June 2014
The Evergreen State College, Olympia, Washington
Scheduled workshops, classes and demonstrations within the area; hired, trained and budgeted hours for work-study and institutional student aids; purchased all studio consumables, operations equipment, and stocked a large printmaking supply store; prepared on-demand demonstrations for faculty, students and staff; worked with faculty to meet their expectations and needs for the studio; maintained all studio equipment in lithography, letterpress, etching, serigraphy, an Anderson & Vreeland Orbital Photopolymer plate maker, a three station digital imaging Mac lab with an Epson 4900, NuArc Exposure unit, and darkroom.

Gallery Director & Working Member of the Board, August 2008- August 2013
Northern: An Olympia All Ages Project, Olympia, Washington
As a working board member, assisted in the development and organization of The Olympia All Ages Project, a certified non-profit organization, and the creation of a mixed use art and music space in downtown Olympia; curated, installed and promoted monthly shows of regional, national and international visual artists; created and advertised calls to artists; managed gallery volunteers; handled all sales and promotion of the gallery.

Adjunct Faculty, September 2010- March 2013
South Puget Sound Community College, Olympia, Washington

2D Design, Fall 2010, Fall 2011, Fall 2012
This foundation level course introduced the study of the visual language and principles of visual communication with emphasis on line, space, form, color, composition and creative problem solving using the Elements of Art and Principles of Design. Students developed skills and demonstrated visual literacy through studio projects, lectures and critiques.

Printmaking I, Winter 2011, Winter 2012, Winter 2013
An introduction to printmaking, students learned basic intaglio, relief, monoprint and serigraphy techniques. The history of printmaking was emphasized as well as its contemporary applications. Students mounted an exhibit of work at the end of the course in the school library.

Printmaking II, Spring 2011
Continuing working with more sophisticated techniques as demonstrated in Printmaking I, students worked toward developing a technical and conceptual portfolio, including digital imaging, merging printmaking processes together while creating unique editions.

Visual Arts Technician II, July 2007 – May 2009
The Evergreen State College, Olympia, Washington
Scheduled and coordinated space for all visual arts programs; webmistress for Arts Area website; scheduled and hired all life drawing models; hired and trained student Arts Area Assistant; facilities management for the entire Evergreen visual arts area; upkeep of all studio equipment, slide and data projectors; liaison between visual arts faculty, students and staff; ordered and purchased materials and supplies as needed by faculty.

Adjunct Faculty, Aug 2004 – May 2005
Virginia Commonwealth University, Richmond, Virginia

The Art of Multiples, Spring 2005
Developed a course upon the idea of experimental printmaking in relation to multiples, with an emphasis on self publishing, artists’ books, and ‘zines; coordinated guest lecturers from the community including independent bookstore owners, print collectives and presses, and book designers; demonstrated layout design principles, simple book binding and book art concepts and discussed the history of print multiples and their many forms.

Large Format Digital Printing, Fall 2004
Created and implemented lesson plans pertaining to Large Format Digital Printmaking including technical and conceptual issues; demonstrated software programs, instructed use of computer and Giclée printer functions; led critiques of student work both in groups and individual sessions; maintained printer, computer lab and Colorspan software.

Professor’s Assistant, Jan 2004 – May 2004
Virginia Commonwealth University, Richmond, Virginia
Large Format Digital Printing, Spring 2004
Assisted with teaching responsibilities and program demonstrations; led critiques of student work; aided students with technical computer problem solving knowledge; demonstrated the Giclée printer, organized printing slots; maintained ColorSpan software and acted as the class technician.

Digital Imaging Computer Lab Assistant, Aug 2003 – Dec 2004
Virginia Commonwealth University, Richmond, Virginia
Supervised and maintained a twelve station G4 computer lab, maintained printers; maintained a PrintMaker Giclée printer including color calibration, head cleaning, head alignment, ink replacement, ColorSpan software monitoring and price per print calculation; aid for technical problems with hardware and software.

Printer’s Apprentice, Jan 2002 – Jan 2003
Mahaffey Fine Art, Portland, Oregon
Apprentice to Mr. Mark Mahaffey; pre press responsibilities included paper, plate and stone preparation; printing assistant; general studio maintenance.

s e l e c t e d   e x h i b i t i o n s

Northern Arizona University Museum of Art, School of Art Faculty Exhibition, Flagstaff, AZ
Gallery 304, Southern Illinois University Carbondale, “Four Rivers Print Biennial,” Juried by David Jones, Founder, Master Printer and Executive Director of the former Anchor Graphics, Carbondale, IL
Frick Center, Elmhurst College, “Mid Atlantic Print Council, Fall 2015 Juried Members Exhibition,” Juried
by Nicole Hand, Professor of Printmaking at Murray State University, Elmhurt, IL
Alvin Gittins Gallery, The University of Utah, “Paper West: A Regional Works on Paper Juried Exhibition,” Juried by Shelby Shadwell, Salt Lake City, Utah
Satellite Contemporary, “Ladies Choice: An Exhibition of Women Lithographers from the Tamarind Institute,” Las Vegas, Nevada
Satellite Contemporary, “Out-of-Towners,” Las Vegas, Nevada
The Postcard Collective, Fall 2014 International Mail Art Exchange
The Postcard Collective, Spring 2014 International Mail Art Exchange
The Postcard Collective, Winter 2014 International Mail Art Exchange
Washington State University Vancouver Art Gallery, “Parts Unknown” Vancouver, WA (Solo Show)
The Evergreen State College Gallery, “Finnish,” Olympia, Washington
Blackfish Gallery Window Space, Portland, Oregon
Guy Lyman Gallery, “First Annual Alfred University Alumni Printmedia Exhibition” in conjunction with the 2012 Southern Graphics Council Conference, New Orleans, Louisiana
Kenneth J. Minnaert Center for the Arts Gallery, South Puget Sound Community College, “Wish You Were Here” Olympia, Washington
Pacific Northwest College of Art MFA Gallery, “PULP: An Exploration of Paper,” Curated by Jodie Cavalier Portland, Oregon
Kenneth J. Minnaert Center for the Arts Gallery, South Puget Sound Community College, “Biennial Faculty Exhibition” Olympia, Washington
Mezzanine Gallery, “SixShot,” Curated by Ira Coyne, Olympia, Washington
“Better Place Than Now” (Two Person) Olympia, Washington
“The PDA Show,” City Wide Event, Curated by Laura Sharp Wilson Salt Lake City, Utah
The Evergreen State College Gallery, “Faculty Show,” Olympia, Washington
Northern, “The Eternal Discrepancies Between What Is Said, Heard and Remembered” (Two Person) Olympia, Washington
The Evergreen State College Gallery, Faculty Show, Olympia, Washington
Grand Impromptu Gallery, “Evolutionary Tales” Tacoma, Washington
Mezzanine Gallery, “Olympia Film Society Benefit Art Auction” Olympia, Washington
Mezzanine Gallery, “Rainbow Eaters” Olympia, Washington
The Ward Building pop-up gallery, “First Dance” Olympia, Washington
The Basement Gallery, “De.Pic.Tion II,” Curated by T.M. Martin Knoxville, Tennessee
Finestra Gallery, “De.Pic.Tion,” Curated by T.M. Martin Chicago, Illinois
Mezzanine Gallery, “Anomia: Spit It Out” Olympia, Washington
The Basement Gallery, “Flair” Knoxville, Tennessee
Barbershop Gallery, “Heroes,” Laura Sharp, Curator Olympia, Washington
South Puget Sound Community College Gallery, “Pulp: Works on Paper” Olympia, Washington
The Basement Gallery, “Kaleidoscope” Knoxville, Tennessee
The Evergreen State College Gallery, “Synergy” Olympia, Washington
Washington Project for the Arts/ Corcoran, “Options,” Curated by Dr. Libby Lumpkin Washington, D.C.
Stefan Stux Gallery, “Double Chin” Chelsea, New York
Boston Museum School Gallery, “Chance Encounters” Boston, Massachusetts
Delaware Center For the Contemporary Arts, “Biennial MFA Exhibition,” Curated by J. Susan Isaacs, Ph.D. Wilmington, Delaware
Anderson Gallery, “When Appliances Attack: MFA Thesis Exhibit” Richmond, Virginia
Stephenson Blanche Gallery, California Institute of the Arts, “Sweet Substitute” Valencia, California
ADA Gallery, “New Realism” Richmond, Virginia
Plant Zero, “Candid” Richmond, Virginia
Marsh Art Gallery, University of Richmond Museums, “6th American Print Biennial,” Curated by Marjorie B. Cohn, Curator of Prints, Fogg Art Museum at Harvard UniversityRichmond, Virginia
ArtWorks, “Casserole,” Curated by Ray Kass Richmond, Virginia
ADA Gallery, Flat files, “Dogshow Suite” Richmond, Virginia
Bradford Gallery, “Lemons” Richmond, Virginia
CEPA Gallery, “Expose Yourself” Buffalo, New York
Harder Hall, Alfred University, “Suburban Landscapes” Alfred, New York
Moka Joka, “My Father’s Family” Alfred, New York

l e c t u r e s + d e m o n s t r a t i o n s

Rocky Mountain Printmakers Symposium (upcoming), Key Speaker, Boise State, April 2018
Eastern Oregon University, Visiting Artist Lecture Series, October 2017
University of Alabama Huntsville, Distinguished Speakers Series, April 2017
Murray State University, Visiting Artist Lecture Series, March 2017
Washington State University Vancouver, Visiting Artist Lecture Series, October 2013

h o n o r s + a w a r d s

Partial Fellowship, Vermont Studio Center 2009
Virginia Museum of Fine Art Professional Fellowship Grant Recipient 2005 – 2006

a r t i s t   r e s i d e n c i e s

The Vermont Studio Center December 2009

b i b l i o g r a p h y

Featured Artist in THE HAND: A Magazine Dedicated to Reproduction-based Art, (, Fall 2015
Featured artist in Drain Magazine, an online journal devoted to theory and praxis, “Dead Wrestlers” (, April 2012
Belinda Haikes, interview and featured artist on “Life, the Universe and Art,” (, March, 2010
Molly Gillmore, “Visit To Northern World,” The Olympian, Living Section, July 23, 2009, featured artist, July 19, 2008
Billie Waite, “Kaleidoscope at The Basement Gallery,” NY Arts Magazine, November – December 2006
Michael O’Sullivan, “At Options, Choose Wisely,” The Washington Post, October 14, 2005
Dr. Libby Lumpkin, Options Biennial 2005, catalogue essay, October 2005
Eleanor Heartney, Virginia Commonwealth University MFA Thesis Catalogue, May 2005

c o l l e c t i o n s

Bainbridge Island Museum of Art, The Sherry Grover Gallery Collection, Bainbridge Island, WA
University of Washington, Special Collections Library, Seattle, WA
Robert Lehrman, Chairman of the Board of Trustees at the Hirshhorn Museum, Washington, D.C.
Peter Hapstak, Principal at the architecture and design firm CORE, Inc., Washington, D.C.

o r g a n i z a t i o n s

Mid Atlantic Print Council, member 2015 – present
Ladies of Letterpress, member 2013 – present
Seattle Print Arts, member 2012 – 2014
Artist Trust of Washington State, member, 2007 – 2014
Southern Graphics Council, member, 2005 – present
College Art Association, member, 2004 – present

p r o f e s s i o n a l  s e r v i c e s

Printmaking Studio Renovation Committee, Fall 2013
Hiring Committee, Ceramics Instructional Technician, Spring 2011
Hiring Committee, Wood and Metal Shop Instructional Technician, Fall 2009
Visual Arts Area Budget Reduction Committee, Winter and Spring 2009

p r o f e s s i o n a l   d e v e l o p m e n t   w o r k s h o p s

Type on the Cob Wayzgoose (Ladies of Letterpress), Mt. Pleasant, IA; Paul Moxon’x Two Day Vandercook Maintenance Workshop, June 2013
School of Visual Concepts, Seattle, WA; Workshop with Kitty Maryatt of Scripps College, March 2013
Workshop with Jim Sheridan of Hatch Show Print, December 2012
School of Visual Concepts, Seattle, WA; WordPress Workshop, July 2011
School of Visual Concepts, Seattle, WA; Workshop in Letterpress Maintenance, October 2010
Independent Publishing Resource Center, Portland, OR; Typesetting and Letterpress Workshop, August 2005
Tamarind Institute, Albuquerque, NM, Aluminum Plate Lithography Summer Workshop; July 2004
Pacific Northwest College of Art, Portland, OR; Serigraphy, Summer 2002

t e c h n i c a l   s k i l l s

• Fully trained in use of ARTstor digital library and presentation software
• Extensive knowledge of traditional and non-toxic printmaking techniques as well as non-toxic studio management
• Experience using Takach, Griffin, Charles Brand lithography and etching presses, Chandler & Price Platen presses, Vandercook Universal III and SP-15 proofing presses
• Extensive experience and knowledge of traditional printmaking techniques in lithography, intaglio, letterpress and typesetting, relief, book arts, serigraphy and photo-based processes
• Extensive use of Digital Imaging technology and software including Epson Stylus Pro large format printers
• Excellent skills using Adobe Creative Suite and open-source alternatives
• Pre press experience in negative and image scanning, layout, film preparation, registration, plate exposure and development
• Extensive color photography developing and printing experience using a Colex Color Processor; advanced black and white photography skills, technical darkroom knowledge, experience with medium and large format film and digital cameras

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