Please find below samples of work that demonstrate my practice.
Each image demonstrates the inclusive and sustainable research direction I would like to underpin all of the work I make. Thank you for your kind consideration.
Here
Etching on paper, 2021
The first edition printed in my new studio. A two-plate etching made without acids or solvents, on reclaimed steel and zinc plates. Marking a transition from full-time technical teaching to a full-time artist practice.
Left: a video made of finishing the prints, demonstrating how to measure and tear down fine art papers, using a push pin to mark out.
Below: the final edition
Pigeon, looking left
Etching on paper, 2019
The plates for these etchings were made during my 2019 residency at AGALAB, Amsterdam. Made entirely without traditional acids or solvents, in a progressive, experimental, environment-first workshop.
The imagery comes from the migrant resident pigeons aboard the Royal Iris, a ferry now abandoned on the River Thames. Situated next to my studio, this small population of pigeons is a metaphor for all migrant communities. Often seen as undesirables, diseased, and as a mass, anthropomorphising and individualising these ferry dwellers challenges the viewer to find empathy and sympathy for the unwanted.
Composition 20201208_3
Monotypes, 2020 -present.
A press-based drawing practice. A collection of small etching plates made with a variety of acid-free, solvent-free processes. Combining photopolymer, acid-free etching, and drypoint techniques. Recycling plates allows me to proof colours and techniques quickly before working with any new materials.
Restored Rochat etching press
In June 2020, fully restored this press to good working order, and it is now installed in my new studio space. Using technical skills from 15 years as a printmaking technician allows me to problem solve at a high level, from risk assessing new substances, to understanding barriers in accessing a process.
Below is a small supplementary selection of work from 2011-2021:
inkedtwice 