Homage to Daniel Buren
[Salt etching, felt pen, yacht varnish on plywood. 2016]

I started printmaking largely due to running out of storage space, needing to find ways of producing flatter and more easily storable artefacts. But I soon became intrigued by the technical nature of it and the almost industrial set-up at the shared print studio.

I initially focused on more elaborate print techniques like Photopolymer etching or lithography, but eventually discovered mono-printing as way of effectively producing one-off paintings in a storable flat format.

Acetate for Sculpture series
[Photopolymer etching on Fabriano, 20 x 20 cm, Ed 25, 2017]
Sculpture Red/Mint [Phtopolymer etching, pastel, yacht varnish on plywood, 2017]
[Collaborative print with James McLoughlin, Lithograph, 100 x 70 cm, 2018]
Detail: Irises
[Lithograph, 2018]
Pontormo Studies
[Monoprint, artist frame. 2018]
Detail: Irises
[Monoprint, 100 x 70cm, 2020]

Next: Experiments in Engagement (Art as Exchange)