What draws Pam to printmaking is the negotiation between intention and discovery. She begins with an image that inpires her (usually from nature), translates it into her own visual language, and then brings that vision to the plate. Sometimes the plate has its own ideas.
Pam’s goal is never perfection, because matrices are not passive surfaces. Whether they be linoleum, wood, or copper, each has its own grain, its own resistance. Printmaking keeps teaching her the same lesson in different ways: hold her vision loosely, trust the process, and let it surprise her. That tension between control and surrender is what keeps her returning to the studio.
