We use printmaking to advance the study of the landscape as a process driven, texturally rich, and accretive phenomenon.

The making of each vegetal print creates an opportunity to work closely with individual plants at a fine scale: dry seed heads of spiny sowthistle explode under the pressure of the printing press creating a confetti of white marks; crushed garlic mustard and wild oat suffused the air with smells of onion, herbs and hay; slender stems of creeping buttercup incised oxbow lines. In their translation to drawings, the paper absorbed sensory information that might otherwise be lost or overlooked.