Artists’ books take every possible form, participate in every possible convention of book making, every possible “ism” of mainstream art and literature, every possible mode of production, every shape, every degree of ephemerality or archival durability.   There are no specific criteria for defining what an artist’s book is …

Drucker, Johanna The Century of Artists’ Books, Granary Books, New York City, 2004, p.14

Artists’ books have become an integral part of my artistic practice. As a printmaker, making books seemed like a natural progression. Little did I realize that it would become an integral part of my practice.  My books are not prints that I turn into books, but rather ideas and concepts that I envision as books from the beginning.  I enjoy the challenge of creating prose that can be complimented by imagery or images that provide narrative without text.  

The techniques I have used in the creation of my artist’s books include: copper plate etching, silk screen, woodcut, linocut, handset letterpress printing, hand drawing, hand stitching, drawing, painting and dyeing, encaustic wax and cyanotype.  Recently, I began to make milkweed paper, which I used to create my handprinted and handbound Butterfly Book.  I began to make Shifu (hand spun Japanese paper) that I have been weaving and knitting for my artist’s books.   

Skunkcabbage Press is my imprint. It is named after one of the few remaining native skunk cabbage patches in the Don River Watershed, which begins in places along the Oak Ridges Moraine and empties into Lake Ontario.  Since 2012, I have published a number of limited edition titles under the Skunkcabbage Press imprint.

I continue to experiment with new ideas and techniques as I explore various subjects.