The image of rows of pilings in the empty harbor is one that has always captured my attention. I wanted to create a body of work that communicated a sense of calm and clarity for the viewer. This harbor, along with many scenic spots along the north shore of Long Island has always provided me with this feeling.

In the development of the prints, I started to build on the image of the trees, emulating the color of brand new spring leaves. Connections began to emerge between my material (the woodblock and the paper I was printing on) and the live and dead trees that I was depicting. Investigation led to the realization of my interest in the way that all of these elements existed together in one scene; one environment. The live trees juxtaposed with the lifeless, stationary pilings; surrounded by flowing water, a sort of perpendicular existence.

My carving and printing process developed in a natural way. My sensibilities as a printmaker allow the material to translate the imagery. The only carving in these prints is used to depict the trees. The water is represented strictly by printing the natural grain of the block brought up by using a steel brush. Over time, the prints became more minimal in style. Some of the blocks are prepared without carving, which is why I refer to them as woodblock prints rather than woodcuts.