Relief printmaking is a very fluid process. Marks on a block can be intentional, unplanned. Printmaking has taught me that I can’t always have control over every detail. When I try to be overly controlling in a piece, I find that the block does not capture the content I want to convey. But if I allow myself to be engaged and open to the process of making the piece, marks that come together come in a more natural way. My carving process is tangible representation of the expressive content of my work. Equine portraiture is my subject matter. As a committed equestrian, I have gotten to know the various characteristics of my horses and I have developed a visual means to express these qualities. By making multiple photographs of each horse, with a goal of capturing specific personality traits, I begin the process of portraiture. Selecting an image and cropping them leads to the composition and then the linocuts can begin. Working on a larger scale block allows me to employ my intuitive mark-making process of gouging. The reductive process is painterly. It is open to consent variations-as the portrait progressively emerges from the block. The close interaction that I have with my subjects, my horses, coupled with my intuitive carving process has led to a logical end, for me to capture expressive equine portraits.