During a visit to Northern China in 2004 I was introduced to early Chinese paper cuts and large-scale calligraphic imagery the impact and memories of which remain and continue to stimulate my thinking and working practices.
I am interested in primitive artefacts, Japanese and Chinese prints, archeology, folklore and natural forms, elements of which are reflected in some aspects of the work I produce.
Currently I am exploring the potential of image making by randomly sequencing layers of thin transparent colour onto etched lino blocks in combination with stencils and mono-print. This gives me the opportunity to explore and include the accidental and unexpected textures and surfaces which emerge. I also like the idea of the ‘unknown and unexpected’ consequently I spend long periods of time proofing until an image is realised.
Drawing is fundamental to my practice, the process of drawing and printmaking being part of the same continuum. I never ‘plan’ a print other than to bring together a number of ideas, images and thoughts which somehow blend together to start me off on an exciting journey of exploration.
I am interested in work by many different printmakers but some of my favourites include: Michael Rothenstein, Julian Trevelyan, Mary Fedden and current practitioners such as Simon Ripley, Serena Smith and Sue Baker Kenton.