In my printmaking practise I am interested in exploring the potential of different printmaking techniques to achieve expressive effects that cannot be achieved through other media. I am interested in the range of interactions between different types of ink, different papers and how this affects the ways that colours translate and interact.
Printmaking places a matrix or plate in between the production of the art work and its realisation as the final image.This freezes gestural mark-making, leaving time for reinterpretation through inking and printing choices before the final work is produced. The insertion of the matrix or plate introduces an element of unpredictability – much depends on the particular state of the ink on the plate before it meets the paper, type and treatment of the paper, pressure of printing and so on.
Printmaking is generally done in layers. This enables both reinforcement and contrast in meaning and effects between layers. It means you can get intense splashes of light peeping through, struggling to emerge through the dark – sometimes planned, sometimes unexpected.
I prefer to treat unpredictability as part of the creative process – interacting with the plate as it evolves and building on what is produced as I go along. In that way I often discover new things about the image, new feelings and elements that I can push beyond what I could have planned or imagined.