I use traditional Chinese printmaking techniques to register inked wooden surfaces onto paper with a spoon. Though it may be time consuming, hand-printing is quintessential to my art making process - the strenuous, focused, and physical pressure applied to register the imagery helps me to be conscious of an enduring and empathetic dialogue that I have with each surface. I believe this unhurried method is my way of paying respect to the tree that once lived for decades or even centuries. I am able to bring out a subject's individualism — its contour, shape, grain patterns, growth rings, tension cracks, and chainsaw markings are preserved. As I continue to explore this subject matter, I incorporate my adaptations and markings with the use of multiple plate registrations, engravings, charcoal rubbings, inlays and collage. I consider the relationship of these effects along with the subject's individualism to gain an understanding of man's ecological role in the natural world.