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These pieces, like the beginnings of all my recent work, builds layers of multiple methods of printmaking. I started with multiple layers of monoprint using Speedball block printing inks and transparent base in a thin washes using a paintbrush, roller, and rag. I printed first on three different papers on a Brand Press at the Open Print Studios at Lyme Academy of Fine Arts in Old Lyme, CT, USA. A small group of area printmakers are able to utilize their print studio. While I maintain and generally work in my large studio in Clinton, CT, I brought one of my registration boards, several screens, drawing fluid, paint brushes, inks, and a host of other materials so that I could work in community on this special day. Next I blocked off a section of a photo emulsion screen of a Cape Cod landscape that I created during a Zea May Printmaking mentorship with Jenny Gover. I hand registered the section and repeated it across the bottom of the print. Next I did a monoprint wash of transparent blue. The three prints were already beginning to move in different directions. I used drawing fluid and a paint brush to block off layers of a screen mounted to my hinged registration board which did not move for the remainder of the day. I blew dry the fluid, then squeegeed a layer of transparent base and a small bit of ink. I repeated this process, blocking more of the screen with the fluid, drying, and printing with increasing amounts of ink to base making the ink more opaque each time. The difference at each layer created subtle textures. Since I was not working from a photograph, but rather inspired by the layers of trees with their first buds in early spring, I was able to keep my process open, painterly, and filled with experimentation and discovery. An artist since childhood, I was trained as a painter in the early days of Purchase College. Marrying techniques of printmaking with the responsiveness of painting is the nature of my process. These prints will continue to evolve as I add stencil silkscreen and woodcut layers as well as overprinting the photo emulsion trees to create more drama and greater depth of field. Print Day in May falls on the eve of the two year passing of my husband Paul who championed my work. The image of the trees emerging from the misty fog reflects my emotional state as I emerge from the throes of grief.