Printmaking, and etching in particular gained an instance empathy with me back in 1989, when first I tried working my imagery into what seemed an unforgiving medium. My drawing was uncertain, and given the back of an old used Lithography plate and a sharpened six inch nail any mark I made couldnt be erased, so every mark had to be decisive and it helped tremendously. Etching and dry point also fused together my previous experience of working with metals in Engineering, and my new direction in the Arts. Later I discovered the zinc plate could be worked into and marks removed, reworked numerous times to achieve the final composition. Sometimes though, areas of the plate become too thin, so there are only so many changes that can be made before the plate becomes unusable. This reworking enriched an etching with layers of fine marks and details.
The thumbnails below run through Fine-Art Printmaking, top to bottom, left to right, from early work towards my latest work. Click on an image to take you to that piece.