My work is a representation of my interest in the inventiveness of the human mind, and the range and diversity of the things that we create. I am amazed and intrigued by man made objects, ideas and concepts. Influences of my work include everything from architecture and machinery to mathematics, and I find it fascinating that all of these things are created by, and are a reflection of, the human spirit.

Since anything that is created using an ink press can be considered print making, there are several approaches to using it as an art form, and I combine several of them in my work. Etching is probably the most common; I mark lines onto a metal plate covered in wax, and then submerge it into an acid bath, which etches away at the metal exposed by my marks. With several iterations of marking and bathing, a reverse-image emerges, which eventually is applied to paper though an ink press.

Jen Jones Freehill is profoundly self-conscious when deciding where to point her camera; and it is right to describe her work in antithetical terms. She photographs the tradition unattractive, the notably tortured and the Freudian perverse; and yet, both through refined techniques of the medium and thoughtful manipulation Freehill’s photography fulfills a desire for simply beautiful works of art.

Travel is a form of pilgrimage for me, but one whose reasons are only revealed upon arrival. Places are not destinations but starting points. By leaving home, one sees with “new” eyes, with a sense of wonderment and attentiveness to detail. The untainted eye drinks in the landscape, until it makes sense, and then attempts to express the spirit of a space with images.

Heidi Jung's love of plants and insects began at an early age and serves as both her inspiration and subject matter. Classically trained as a photographer, Jung continues to see the world through a lens; aesthetically bringing a mix of detail and movement to the foreground for the viewer. Like many contemporary artists, Jung's connection to nature is both highly personal and unconventional; incorporating ink and charcoal her works imply nature’s inherent mystery and ambivalent ferocity.

I am driven by my need to understand my brother's military experience in the Iraqi desert. Reaching beyond landscape as physical location, my work considers psychological states and imaginary worlds as a way to investigate an expanded idea of place. Awash in satellite imagery and cartographic strategies, I perceive our contemporary, First World existence as a confusion between virtual and visceral landscapes. In this work I am considering the overlap of interior and exterior worlds; mental places conjured for refuge and retreat, and the world existing outside the physical body.

The formal concerns in Murphy's work remain the same, but are freed by using a clustered free-floating format. She is creating artwork that mimics both language forms and societies - each element representing a word or phrase that, combined in concert with others, evokes a more complex or meaningful idea through it's interaction while still able to stand on it's own.

Creating art is a constant process of study, experimentation and observation; achieving maximum meaning with the most minimal of images. It is in this achievement of multiple implications that the work is allowed to lend itself to interpretation through both space and time; infinite and singular. Art truly is its own dimension that identifies itself through knowledge and perception.