X-RAY MAG: Tell us about your print-making and printstallations. How did you come up with the concept and how are the art works made or constructed—what is your method?

LK: Most of my subject matter is based in nature, so typically my process begins with some general research, mainly image searches on existing organisms from nature that give me ideas and inspiration on what I might like to start attempting to make in paper or wood. From there I do a lot of experimenting with paper, to see what kinds of forms will work and will be effective as multiples.

Often at the same time I’ll be working on drawings that are also based in that same research and that end up becoming the patterns on the paper I use. All the paper that I use, I print on first to give it the color and visual texture I want. Initially, I print flats of color, using a monotype technique with oil-based ink, and then print the patterns using silkscreen. When the paper is ready and after I’ve settled on a sculptural form or model that I am pleased with, I’ll start to make the actual piece.

Printstallation to me means a large print-based sculptural piece or installation. Being able to figure out ways of making this kind of art is exciting to me. I love the idea that art could take over a space and be more engaging for the viewer. I find most art in galleries to be very static—people are often separated from it by glass. Sculptural work that is visually very engaging, that has a variety of texture and is surprising in its presentation can be very fun for viewers to experience. (...)