Background

Where did you grow up? Where do you live now?
I grew up in Endicott, NY and went to school the in the village of Alfred in western NY. Between 2011 and 2012, I lived in France for six months, then settled down in Eastern Massachusetts.

Describe your technique.
I lean heavily on grids and a light box when sketching out compositions. For watercolors, I typically start with a graphite outline, then go in with light washes and build to heavier color. I occasionally use colored pencil to punch up key details.

With oils, I start with a monochrome imprimatura layer, then build up volume by alternating “fat” layers and “lean” glazes. While living in Paris, I studied Old Master techniques (notably those of Jan van Eyck) and learned how to make my own paint from powdered pigment and linseed oil/gum Arabic, as well as mediums from dammar gum, methylcellulose glue, and turpentine.

For comics, I work from a script that details each page (panel composition + writing) and a set of thumbnail drawings. From there, I do the final drawings, drafting in pencil and going over with colored pencil.

Who are your favorite artists?
Painters: (Historical) John Singer Sargent, Johannes Vermeer, Elisabeth Vigée le Brun, Andrew Wyeth; (contemporary) Lorraine Loots, Nick Alm

Illustrators and storytellers: Alison Bechdel, AJ Dungo, Tom Haugomat, Lucy Knisley, Jihyeon Lee, Jeff Lemire, Erin E. Stead, Jillian Tamaki, Craig Thompson, Tillie Walden.

Who are some of your biggest influences?
Both of my parents are retired librarians and their methodical ways show up a lot in my approach to drawing and painting. My mom and aunt (and my grandmother before them) make Pysanky—the Ukrainian folk art of decorating eggs; my style definitely pulls on the same detail orientation. My dad researches genealogy and writes poetry/short stories; I see a lot of those interests emerging in my graphic novel process so far. We are both intrigued by memory and fleeting moments.

Have you ever tried any other mediums?
I’ve also dabbled in gouache, egg tempera, printmaking, glassblowing, glass fusing, slip casting, wheel thrown pottery, bookmaking, black & white film photography, graphic design, and embroidery.

So, what’s the deal with the comic? Where did the oil paintings go?
In 2017, I set aside oil paints and started drafting a graphic novel about my relationship with my maternal grandparents. In 2019, I attended a workshop about making graphic novels at the Center for Cartoon Studies in Vermont. So far, I’ve completed close to five chapters (around 140 pages), which I've started publishing here.

Do you do art full-time?
I am a librarian by day, artist by night. The comic and watercolor commissions keep me busy when I’m not getting lost in the world of books.