When I set out to make a print, I begin with the act of drawing on the surface of the limestone. My priority is to search for marks that I find appealing, and build up the image with successive layers of colour. My present imagery can best be expressed through the use of the process of lithography, this technique allows me to control the final look of the work. In creating a lithograph, the drawing is made on the stone by using grease lithographic crayons or liquid tusche, the drawing materials are then stabilized and etched on the stone with a mixture of gum arabic and nitric acid. After, approximately an hour, the drawing is washed out with paint thinner, and then a thin coat of asphaltum is applied. When the asphaltum is dry and washed out with water, the drawing is then brought up with an application of black ink and rolled out with a leather roller. The black ink is then treated with rosin and talc and ready to be set on the stone with gum arabic and nitric acid. The image is left undisturbed for a few hours before it is ready to be printed. My subject matter is non-representational or abstract in nature. I am passionately interested in the interaction of gestural marks, textures and forms on the surface of the paper. However, this does not mean that any random marks are acceptable. I look for abstract elements that either bond well together or contrast with each other in an interesting manner. Most people experience their daily lives, unaware of the visual possibilities that surround them, rarely realizing that non-figurative marks and forms live amongst them. My desire is to bring these abstract elements to light, showcasing the unrealized possibilities of these non-figurative and non-representational marks. My eye can be drawn to the unobserved artistic possibilities of a crack in the middle of the street, a ball of tangled wire, a water stain on the side of a wall, a crinkled-up rusted piece of metal. My eyes are always searching for the unobserved, the unseen, the neglected visual elements that surround me; things that people would not give a second glance. In using these neglected visual elements my intent is to draw inspiration from them not to represent them exactly as they are. I have a strong belief that interpretation in art is both personal and subjective, therefore I prefer to let my viewers discover their own meanings and create a personal relationship with the work of art.