Formally, my art practice has always been involved with line, a preference that is linked to a desire for visual movement, the single most consistent feature of my work. In the last few years, I have often combined trace monoprinting and relief prints. The simplicity of the monoprinting process—laying thin paper on an inked plate and drawing or pressing on the back—lends itself to spontaneity, motion, and sometimes surprising results. While relief prints are made from a fixed plate, I’ve found ways of allowing them, too, to be less consistent and uniform than is traditional. Thus, I work with processes that engender movement not only spatially (how the marks look) but also temporally (What will happen next? How will I react to unintended marks/accidents? Can I make an integrated whole from images that are displaced in time?).