Unlike the previous seven years, the following three were filled with exploration, experimentation and striving to “lose control” of my art-making process. The use of tannin from mulched leaves, fiberglass screening, and other untraditional materials factored into the equations. In my printmaking I began to use a collection of New England roofing slates that someone had given me. Each slate was given a number and each side was designated either “A” or “B”. Note: the dimensions of the prints refer to the plate or image.
In a more traditional vein I created the Elegy for Heaven paintings on unstretched canvases that later were mounted to panels during this same time.