My recent works have focussed on Linoprint. I wanted to move away from the often flat and decorative nature of this method and to work particularly on creating a sense of depth within the image by applying the principle of colour fading and creating detail and stronger colour in the foreground. I use ‘a la poupee’ (dabbing with a leather pad) methods of applying the first layer of ink, which allows for a greater variation in texture, colour and densities of ink.
This approach has related especially to my continued recording of ancient trees, woodlands and landscapes of the Peak District and Britain.
An essential part of my method is to visit the places that I intend to work with. Sometimes planned, other times coincidental ‘meetings.’ (With the subject matter) I spend time there, usually alone, sketch, take photographs then, as I work on the technical processes involved in the printmaking, there is a re-experiencing of this part of the creative process which balances the technical/creative element of my work.
Each work aims to record not only the trees/place but also the moment of my meeting with them, the conditions of that moment and of my experience. The colours and the mark making particularly try to re-create this sense of relationship to the natural world.