recent work has been on the (present) act of creating rather than the product of creation and the object-matrix-artist relationship. With the use of the found matrix I am exploring the idea of direct contact between object and image, and the imparting of a spiritual gift from one to the other. With Floor Monotypes (this is the series title until I come up with a better one) I pull monotypes directly from the flagstone floor of my house. The house was built by hand in the 1930's and I have always felt the obligation to document its beautiful crafted quality. Part of my obligation lies in the inevitability of us leaving the house in the near future, and the possibility of it not being here when we return. I have documented the house in more ways than this, with rubbings (is a rubbing a print??) of the coquina shell fireplace, cedar doors and ceiling beams and fossil-stone walls. These aspects along with the stone floors in which I notice the layers patterns and shapes of time all serve as a reminder of how the earth was formed on a daily basis. This gives me the feeling of being in a sacred space, which I attempt to share by providing imagery of the house that was created from interactions with the space. In a similar manner I have continued to print botanical studies from found-plant matrixes however I have started developing ways to avoid "harming" the plant. Because I do not want to stop printing the plants altogether and would not want to deny myself or anyone the joy of picking plants and using them to enlighten an inside space I decided that my definition of the word harm in this case simply means to disrupt a natural process. I am trying different recipes for natural water-based inks so that once the plant is printed it can be rinsed and is fully compostable rather than be soaked in solvents and thrown in the trash. I feel that this way of acting toward the plants is important way of showing my appreciation of them.