More than half of Veronica's life has been spent printing, starting with a commercial offset apprenticeship program in high school. After one too many times being reprimanded by traditionalists for creative use of commercial applications, she veered towards the fine arts in college. In 1999 Veronica graduated with a BFA in Printmaking from the Milwaukee Institute of Art and Design, being the first in her family to spend that much money on college without becoming a doctor. The call of the west brought her to New Mexico, where she completed the Tamarind Institute Professional Lithographer program in 2002. She was pulled away from the land of enchantment by an artist's residency at the Scoula Internazionale Di Grafica in Venice, Italy. After spending all her time drawing in church and all her money on green shoes, prosecco and Fabriano paper she returned to the United States. Veronica tried many American cities on for size. Nashville highlighted her complete lack of musical talent, a stint as a New Orleans street performer only garnered enough cash for a tank of gas, and a masterful appearance in Death Valley: The Revenge of Bloody Bill as "Zombie in Window" in Hollywood was completely overlooked by the Academy when Oscar time came around.

      In 2004 Veronica came to Austin on a hunch and found it a beacon for paper arts. She became Flatbed Press' Master Lithographer and joined WPA ASAP. During her time in Austin Ceci exhibited extensively throughout the United States and abroad, including The International Print Center New York's best new work of 2010.  At Flatbed she was privileged to collaborate with artists such as Dan Rizzie, Luis Jimenez, Sarah Canright, Sterling Allen, Suzi Davidoff and many more.

     Even Austin's excellent brisket and live music couldn't hold her forever.   A lust for the mariner's life brought her briefly to Sarasota, Florida where she smelled like a sailor and  worked as a picture framer at the Soicher-Marin Gallery.  The entire summer of 2011 was spent in residence in Murano, Venezia, Italia at Venice Printmaking making large scale monotypes of tourists ignoring their surroundings in favor of their smartphones. Spring of 2012 was spent as Artist in Residence at the Experimental Printmaking Institute at Lafayette College in Easton PA and she was featured in a three person show there called the Room of Relief in 2013.   Currently Ceci is pursuing her MFA while teaching Lithography at Kent State University.

Living out in the country has been a major influence on my present work, and of late, the recent drought here in Texas and what it has done to our pond has been the major source in these recent works.  Our pond has dried up twice this summer. The first time it dried up was the most devastating as we lost all our fish, frogs, turtles and many more organisms that help sustain life around the pond.  The many birds, reptiles, and animals that frequent the pond have had their lives severely altered.  As of now, after a recent rain a few weeks ago, we have water again but it will take years to form the ecosystem that existed before the drought.

In other works, the content is about the cycle of life, a kind of eternal dance that not only starts and ends and repeats, but leaves echoes that remain for a time. The images and diagrams of the moon are the most prominent recurring objects in my work and represent for me the cycles of the seasons and the renewal of life.  Other recurring images are shells that leave the negative imprint of the living matter they once contained, spiral galaxies that suggest creation, evolution, and the gravitational pull into the center and the unknown, and additional visual parallels for the cyclic nature of birth, death, and regeneration such as plants, bees, and microscopic organisms.

Throughout my schooling and career, I have been interested in how the parts work together to create the whole. As a printmaker, the processes alone fulfill this constant need to build, whether assembling stencils or building onto plates. Combined with my imagery pulled from family traditions of quilting, I hope to create a body of work that inspires an appreciation of feminine and feminist representations in art and art-making.

Nature provides an ever-changing and fascinating subject for my artwork. The myriad colors displayed by nature and its creatures inspire me to create art in the attempt to evoke in the viewer the same emotional response it creates in me; feelings from peace and a sense of wonder to excitement, even exhilaration, based on the coloration of foliage and flowers. My garden is a large part of my world and it is filled with color, shapes, and textures which changes from season to season; I have only to step outside my house to discover an idea for my next print. The wonder that comes from planting a seed and tending it from sprout to blossom is almost indescribable. It is a journey, much like creating art, as it is full of possibilities and an uncertain outcome. What adversities must be overcome; will it thrive and meet its full potential? It is with the intent of sharing this excitement and joy that I create my artwork.

My work is a constant search of knowledge, both personal and external. I concentrate on the consideration of life, time and space. My work synthesizes mythology and reality into dynamic environments in which spaces expand and contract unexpectedly. Using energetic patterns and lines, I create planes intertwined with people and animals creating an exuberant narrative. Recently I extended my interest into natural motifs in a series of mountain and forest landscapes, in which a principle moment appears frozen. Challenging the notions of time and sequence, in which the viewer completes the narrative.

My current body of work is based on diseased tissue of the heart, lung and liver tissues. I use this imagery to explore the negative and positive aspects of mutation at a cellular lever, and how it is both destructive and innovative. I break the imagery down into simple, formal, fundamental shapes to create cellular elements which become the tools of my drawing practice. With the development of electron microscopy, I imagine to possess the same filter when choosing the color and composition of my prints. I attach lighting elements to create the experience of looking though a microscope and to add life to the produced tissue samples. Depending on what emotion I want to represent, the imagery will either be a simple composition to emphasize the basic organic growth of life or a very chaotic scene to display stress and tension. I use repetition to give an identity to the cells and the importance of each one�s placement.

I feel my art making is a work in progress. My  "artistic voice” has not been found, but I feel I am at least practicing my vocal chords. I am inspired by nature with her many textures and layers. Many of my pieces seem to incorporate layers and textures.  I find the colors, patterns and shapes created by many layers appealing. At times, my work involves contrasts. One of my latest pieces involves the theme of achieving balance in my life.

I view my work as a collaboration with nature. I make handmade paper with plant materials from my garden. My photographs are also mainly taken in my garden or on hikes. I am fascinated with symbols and intricate patterns that, to me, give glimpses and insights into to the great mysteries of life.