In my practise I explore the power and potential of chronicling surface through the gestures of printmaking, drawing and painting. I enjoy combining traditional printing techniques (etching, woodcut, and takuhon), with digital print techniques and photography, focusing on the ever-changing surface of the earth through traditionally unchronicled surfaces such as concrete floors, paving stones, roads, peeling paint or tree bark. An area of floor surface, recorded with layer upon layer of diverse materials, becomes a map or seascape in an imaginary world. I impose colour, scale and borders, deciding what is sea or land, what is lit or remains in shadow, whether an island remains on the surface or is submerged. The surface reveals what lies beneath, seas are no longer the traditional map maker’s light blue, but run livid and chaotic as colour is layered on colour to suggest the teeming life beneath. By using materials that can be applied, removed and blended, I mimic the formation of surface through biological and chemical erosion. In this way, surface, representation and meaning are eroded to give way to pure sensation.
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