Elizabeth’s printmaking began at Maude Kerns Art Center in Eugene and continued with LaVerne Krause at the University of Oregon. She developed her approach to the reduction process (also known as the suicide method) on her kitchen table as she began raising the first of her three daughters.Moving to Florence, Oregon, working at a wallpaper factory under the direction of a Gemini Master Printmaker, not only provided a unique mentorship, but also afforded the opportunity for her first One-person show at Arakunen Gallery.As Art Director for Eugene Saturday Market during the Fifteenth Anniversary she created posters for the event as well as arranging music on Saturdays.Studios in Eugene moved from the space above Newberry’s Five and Dime on Willamette Street to the Eugene Planning Mill warehouse west of Skinner Butte and finally a garage in her home on 16th Street.A motorcycle road trip to the Midwest in the early 80’s inspired the highway series where the full sheet blend was developed. The blend served as a base for collage using printed papers and found objects, themes that run through her career.The relationship with Loci Pfeiffer and Opus 5 Gallery provided long-term strong support as Elizabeth moved north.The Northwest Print Council (now Print Arts Northwest) took Elizabeth to Portland for Board meetings and began a long-term relationship with established Northwest printmakers and Beverly Shumaker at Image Gallery.

The move to Salem offered first a basement studio and eventually a studio in the backyard with a borrowed printing press. Teaching, as a working artist, became an important aspect of life with the opportunity to teach Basic Design at Willamette University as well as printmaking and watercolor at Bush Barn Art Center and Chemeketa Community College.Tuesday evening library visits downtown were often followed by stops in Minto Brown Park and walks along the river. These evenings inspired multiple pieces of work including a few screenprints.Having a press in the studio offered the opportunity to explore three-color monoprints. Color started as a central theme. Creating luscious views of everyday life with three colors led to a variety of approaches to expression.Walks from the home, through the garden to the studio in the backyard, lead to many gardening adventures which, over time, grew to inspire many still-life compositions. Still-life screenprints made their way into multiple collections, including the University of Oregon Knight Library collection and multiple shows in the Northwest, including the Oregon Governor's Office Gallery.The still-life moved from plants as subject matter to plants as objects defining space. The Pink Tulips screenprint offers a world created by color and plants. This print is in the Chinese National Museum collection.

The move to Kirkland, Washington, and a home in the Seattle Eastside found Elizabeth working in the family room for a few years while the studio in the backyard was being built. With a glass kiln in the studio, glass and ceramics became an area of attention along with printmaking. With a small press in the new studio, other one-of-a-kind works were explored. Chin Colle and monotypes became a focus each time Elizabeth returned from Residencies at The Sculoa de Graphica in Venice, Italy, where she taught reduction screenprinting while exploring aquatint and developing various etching and one-off techniques. A residency at the Skopelos Foundation for the Arts offered an opportunity to engage Greek history and imagery.Teaching continued at the Kirkland Art Center and at the Schack Art Center in Everett, Washington, where Elizabeth set up a new printmaking facility.Elizabeth’s work continues to be available through the Portland Art Museum Rental Sales Gallery.