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

Fundamental to my practice is the process; experimenting, observing and learning more about print mediums definitely drives me. I love the old school, it’s practicality. In a world that increasingly values technology, with its most contemporary of gadgets, I think there’s something essential in the custodianship of earlier technologies and techniques; as archaic as it may be, the printing press is built to last and these days that’s unique and special. The process also produces aesthetic qualities that can’t be rivalled. Drawing, and by extension printmaking, offer mediums I can be obsessive and meticulous with, which in turn offers an opportunity for meditative focus. Achieving that state of flow while making, which, I think, is part of what drives many artists.

Creatively, what continuously drives me is an inherent curiosity in observing the nature and meaning of things; in the shape and form of objects, both inanimate and real, be it curious, collections, antiques, or remnants of nature. A lot of my imagery derives from the natural environment, so my creative process involves a continuous way of seeing that encourages interactions with the natural world that will then inform my work. 

There are many art styles and movements that intrigue me but I am particularly drawn toward surrealism and still life, particularly the Dutch Vanitas. I would say there is a subliminal relationship there that I’m still exploring or allowing it to unfold, but that connects my creative musings.

Your compositions combine both real and imagined spaces in order to convey a narrative. What is the significance of storytelling and symbolism in your practice?

Symbolism, along with storytelling, have become increasingly important to my practice. I enjoy considering the loaded meaning of things, the narrative they represent, their personalities, and how they can take on new meaning in a different context - there is so much nuance and complexity in the connotations of symbols. When merging the real and imagined, a space can be created where objects form their own dynamics to help tell the story. 

As there is often an underling reflection on ecology in my work, I’m exploring creating imagery that is gently ominous. I want to make images that remind people of the transience of life or that speak of fragility and beauty as much as they do decay or danger, even leaning toward a sinister or a semi-apocalyptic vibe. Environmentally, there is an urgency that is not being addressed effectively. In my work I want to emulate these tensions, depicting ephemerality, fragility, loss and death symbolically with imagined narratives.

Your prints seem to go through many metamorphosis before reaching their final form. Can you take us through your process of developing a print? Have you found your experience as a studio technician has informed these processes?

Metamorphic is very apt!  There are many stages, but also I love this word due to my preoccupation with insects. Intaglio etching and lithography are both practices engrained in process. For me, the attraction toward printmaking mediums speaks to a method of working that can be as controlled as it is temperamental, even arduous at times. While challenging, I’m fascinated by the push and pull of developing a print, both in it’s physicality and alchemy. It can feel like mastery over the elements sometimes when something goes completely to plan!

I formulate ideas through drawing. Typically, my imagery is derived from subject matter I own or collect. I’ll either imitate the objects directly, or morph them to suit an image or message. When working with composite imagery, drawing is a way for me to navigate shape and form and then merge symbols into a composition to be transferred to plate or stone, ready for the next myriad of stages. 

I’d say being a tech can complement printmaking processes as the machinery, equipment and chemicals needed are so specific and specialised - it’s a huge undertaking to set up in your own studio. So it's undeniably beneficial to have access to great facilities in an environment supportive of creative and professional development. I also just love the energy and comradery of a collaborative studio space and being a part of other artists development and processes. I will often learn things from supporting the technical pursuits of students which I find really inspiring.

Are there any female printmakers | artists that influence you?

Being within the arts sector I’ve been fortunate enough to have worked with many inspiring creatives whose work I admire; students, lecturers and artists inclusively. As far as printmakers, I’d say this is how being a studio technician has influenced me most. I adore Judith Martinez Estrada’s work, her photogravure prints are luscious with rich velvety blacks, a beautiful backdrop for the subtle disappearing figures and crisp white foliage. Her mixed media work also speaks to my sensibilities, the gadgetry, poetry and the ghostly anonymity of collected antique portraits just fascinate me. Working with Jacqui Driver has also been a big influence, observing her teach and create work inspired me to pursue lithography. She is incredibly patient, encouraging and supportive with my attempts to sponge her encyclopaedic lithographic knowledge! I enjoy the commanding scale of her work, pushing the boundaries of print with her installations, combining other media in a thoughtfully considered use of the installed space. Jacqui’s work achieves an ominous beauty that balances the delicate and threatening both through its themes and aesthetic. 

The more I think about it, there are so many creative women who have influenced me in some way…

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

Currently, I’ve purely been appreciative about being back in the studio following last year’s campus lockdown~ continuing to work on my ever-ongoing print projects. I’m hoping to delve into more writing this year, maybe connecting small prose with some of my prints, but we’ll see!

I’m particularly excited about working towards completing the etching I started in isolation and exhibited in MTR’s online exhibition print in Isolation - which would be awesome to follow up with an in real life exhibition! 

I’ll also have a lithograph featured in the exhibition Emergent 2021 next month co-curated by Sarah Rose.