The pictures in this gallery are but a glimpse into my process over that past year, from working with the still life to carving the relief blocks. My attic studio took on many forms and seemed to adapt naturally to my many needs as the piece developed.

My process began with a still life that was made out of many bits of detritus found in the attic. After a number of failed drawings I began exploring the still life with a digital camera. The camera was small and could easily be stuck into small nooks, which revealed a whole new world to explore. Yes! From these images I started composing the piece.

Bits and pieces of the reference images were drawn onto the 4x8 ft blocks. I built a large "easel" so that I could draw on four of the blocks at one time and be able to stand back to get a sense of the composition as a whole. My carving tools were not merely a means to remove material, but rather a drawing tool, much like a pencil, that allowed me to further deviate from the reference material. The two and a half months of carving allowed the piece to slowly develop as I reinterpreted the imagery harvested from the still life. Ideas were drawn onto the blocks and allowed to simmer. Some worked. Others didn't.

Once the carving was done, the blocks were taken to the University of Tennessee - Knoxville where they were printed on a 5x10 American French Tool press respectfully named Betsy. Clif Riley is shown here helping with the final printing of the blocks.