What were your early screen prints like? what processes did you use?

I was obsessed with silk screening at a young age. My surfer friends in Wildwood made their own t-shirts, and I learned how and made all kinds of shirts on my own. This eventually led to making zines so that I had something to make more t-shirts and stickers for. I didn’t start making silk screen prints until college because I didn’t have anywhere to make them. I must say, it was a major factor for wanting to go to art school in the first place, and even though I was a photography major, I dabbled in silk screening more than photography.

Who were your earliest print making influences, and how did that work shape yours?

Warhol and Mark Mothersbaugh. My friends had Mark Mothersbaugh prints in their house that glowed in the dark. I copied that right away. I loved Warhol’s use of halftones since I was obsessed with them from the fact that I was always trying to get my photos half-toned to make zines. It was really hard back in the day finding the photo machines that made them. It’s so easy now with photoshop.

Who are your favorite print makers?

Andrew Jefferey Wright, Ben Woodward, Tim Gough, I could go on and on.

Why are you so into print making as an art?

I like how it feels finished, and you can sign it, and it becomes a sort of product. I like blowing up images and using multiple color ways and displaying them in a big grid.

Do you work digitally now when print making? Have you explored any other print processes?

I make the halftones on the computer now, but I loved cutting up shapes and making the layers on a big old light table. I never did any other type of printing besides photography prints.

Everyone knows how much of a print guy you are, but what are some of your non-print making influences?

Spearfishing, making up silly stories to post on the FDR skate park myspace page, kitten juggling.