I began experimenting with plaster during the spring of 2020. In these early days of the pandemic, I was working in a tiny studio space under the stairs in our Boston apartment. Without access to a printing press, I began printing intaglio plates in plaster, an archaic technique that dates back to a time when plaster was far less expensive than paper. Since then, I have continued to explore the possibilities of plaster—adding pigment, carving, and embedding materials in my plaster objects. I am interested in plaster’s fragility, its long history of use, and its material hybridity that falls somewhere between paper and rock.