On printmaking
In letting go of the idea of an exact copy, I employ the printmaking matrix in processes that enable infinitely variable outcomes. Considering matrices as DNA of the work, and with working methods in the studio not unlike the interplay of nature and nurture, I investigate the idea of the provisionality of the self. The world around is experienced in fragments: What I see and experience is constantly changing - and changes me, compelling me to understand myself as a provisional, fragile construction. Acknowledging that I/we are subjected to an open field of possibilities rather than a set plan, and inviting chance and the unforeseen, further reinforces an understanding of the world as a process rather than a product. In the studio, employing unstable matrices, working in iterative series and with processes of layering, erasing, making and unmaking, arranging and re-arranging works become a demonstration of how as an artist I make sense of self and the world around me.
In letting go of the idea of an exact copy, I employ the printmaking matrix in processes that enable infinitely variable outcomes. Considering matrices as DNA of the work, and with working methods in the studio not unlike the interplay of nature and nurture, I investigate the idea of the provisionality of the self. The world around is experienced in fragments: What I see and experience is constantly changing - and changes me, compelling me to understand myself as a provisional, fragile construction. Acknowledging that I/we are subjected to an open field of possibilities rather than a set plan, and inviting chance and the unforeseen, further reinforces an understanding of the world as a process rather than a product. In the studio, employing unstable matrices, working in iterative series and with processes of layering, erasing, making and unmaking, arranging and re-arranging works become a demonstration of how as an artist I make sense of self and the world around me.
