Tell us about your creative process, what drives your practice?

My practice has primarily been shaped by my love for photographic imaging and my interest in accurately representing composition, tone, light and shadow - very analytical, I am aware. I often get overwhelmed with the planning a more symbolic or conceptual image and retreat to representation to preoccupy myself with improving printmaking techniques.

My other main process of working balances this formulaic method of transcription which I use with woodblock. Though they aren’t technically “watercolour monoprints” (those are a wonderful technique, suggest looking it up), I do occasionally call them that - as through the wetting and erasure of the image, they almost manage to extend the medium of print. This project allows me to document and recreate abstract scenes from dreams, recording narrative and sketching before printing.

What is your approach to developing a composition? How do you engage with positive and negative space?

My work is very much process-driven, the use of photo references in my work dictates the physical composition of my woodblock.

I am drawn to compositions with large open spaces though not entirely devoid of spacial interaction. My goal is to depict a mundane yet identifiable space through which one can not only observe but relate their own experience and engage with, as I have done with the still image.

Due to my use of photographic references, my work relies on linear spacing to dictate tonality, and I prefer favouring this process over the simple selection and transcription of images. I take a few creative liberties and compare it to mapping out an aquatint. I’d usually start the block by getting the general layout of an image I’ve taken (through graphite transfer), tracing and eliminating white areas, before building up and carving out the lighter to mid-tones.

Your images are of quintessential, everyday Sydney, and provide a sense of familiarity for the viewer. What is the significance of place within your practice?

I was drawn to depicting these urban spaces a couple of years ago, as a way of processing fears regarding travel, due to my development of a chronic disorder called P.O.T.S., which - put simply - means that my body struggles to maintain levels of sodium and regulate my blood pressure and pulse; causing nausea, frequent headaches and on bad days, fainting.

As much as I try not to explicitly introduce health issues to my art, (as I’m sure it becomes draining for people after a while as I have another chronic disorder which often frequents statements), I’ve come to accept it, as although its a tad ‘TMI’, it’s unavoidable due to how integral it is to my everyday life and practice.

I remain drawn to depicting the CBD and inner west, purely from a desire to create a physical archive of place for myself, and as a form of engagement with my environment. I like observing how people react to the prints, as it is so easy with a neutral image, to impose emotional associations on work. For instance, a print of a streetscape that might make me uncomfortable - as an association of having been followed home once late at night, could for another instil a sense of nostalgia, reminding them of a family home or a loved one - which is in itself, fulfilling.

Are there any female printmakers | artists that influence you?

I’ve recently been very invested in watching mokuhanga, woodblock engraving and woodcut processes and have been greatly inspired by Laura Boswell, with her affordable, accessible advice with tools and alternate techniques, making regular process and instruction videos, operating entirely out of her home studio. Other current woodblock influences (mostly landscape based) include Lauren Crowe, Olesya Dzhurayeva, Maggie Stein and Christine Baumgartner.

Though there are many other female printmakers who I’d say have influenced me, I consider the impact of my lecturers, friends and classmates during my time studying, my most significant influence. They have taught me so much, shaped my perception of art, and have helped instil a sense of confidence and appreciation for my own art. I think this kind of support system is vital for emerging artists and its lovely to see that same sense of community through this initiative.

Finally, what exciting projects are you working on at the moment?

Having recently graduated, I am taking a year for myself. I’m hoping to experiment and merge my two methods of working - monotype and carving - in an attempt to create more visually engaging woodblocks.

Later this year, I have been invited to join a group exhibition with several artists and small business owners, which will take place in August to coincide with the Randwick festival. Primarily consisting of object crafts, they’ve invited me to create work to decorate a portion of the space, which is a great honour. I’d say a good chunk of this year will be spent creating new work for this exhibition.

Next year I am hoping to continue my study and eventually pursue a masters in conservation.