Since graduating with an MA in Multi-disciplinary printmaking in 2009, I have focused on creating large woodblock prints of littoral landscapes, taking particular inspiration from the grain of the wood in the image-making. Much of my work has been an exploration of the low-tide landscapes of the Severn Estuary and the transience of its tidal nature.
More recently I have become interested in our spatial relationship to place and I have begun to include figures and man-made structures and forms, for example the wreck of a boat gradually disappearing into the landscape.
During the recent pandemic I became interested in the way our private and public spaces are perceived and became redefined, in particular the space between each other and the space within ourselves that we may consciously or unconsciously commune with in large open landscapes. The woodgrain, often printed from 'found' weathered wood, brings a textural dimension describing the fragility and shifting nature of these littoral, marginal places and of our own lives.
The process of producing each print involves cutting the image from blocks of birch plywood. I then print from found wood that has an enhanced grain caused by weathering to echo the natural textures of the exposed tidal landscape. Each block is hand-printed onto Japanese paper using a baren. The process is involved, but the time allows me to explore layers of memory and connection to the landscape.
I am also in the newer realms of experimenting with photographic imagery through the intaglio process in combination with printed layers of woodgrain.
I am a member of Spike Print Studio in Bristol and Bath Society of Artists and have exhibited widely.
More recently I have become interested in our spatial relationship to place and I have begun to include figures and man-made structures and forms, for example the wreck of a boat gradually disappearing into the landscape.
During the recent pandemic I became interested in the way our private and public spaces are perceived and became redefined, in particular the space between each other and the space within ourselves that we may consciously or unconsciously commune with in large open landscapes. The woodgrain, often printed from 'found' weathered wood, brings a textural dimension describing the fragility and shifting nature of these littoral, marginal places and of our own lives.
The process of producing each print involves cutting the image from blocks of birch plywood. I then print from found wood that has an enhanced grain caused by weathering to echo the natural textures of the exposed tidal landscape. Each block is hand-printed onto Japanese paper using a baren. The process is involved, but the time allows me to explore layers of memory and connection to the landscape.
I am also in the newer realms of experimenting with photographic imagery through the intaglio process in combination with printed layers of woodgrain.
I am a member of Spike Print Studio in Bristol and Bath Society of Artists and have exhibited widely.