Constructing the work

View tour brochure images of NATURAL WORLDS show

I have always had a tendency to make sculptural work, I find it difficult to make a print and leave it untouched. I'm always eager to pierce holes, emboss the surface or cut with a scalpel. As a printmaker I am interested in the construction and reconstruction of prints. I see the potential to 'reproduce' images - like nature’s ability to regenerate; it is the force of controlling impermanence. Printmaking is a reproduction process; it is a way of making a multiple, a way of reproducing an image over and over again.

The final images I produce are one-off pieces, made up of thousands of multiples. Each tiny 'spore' is printed using hand drawn stencils exposed on to a screen. The screenprinted spores are printed on to fragile Japanese paper. I reproduce the spores until I have thousands of them, often in variations of colours and tones. Each tiny 'spore' is hand cut with a scalpel and attached to a pin. I construct the work by pushing these pins in to a background image either made through screenprint or woodcut. It allows me to control the growth of the image, allowing for different parts of the image to be seen at different levels. Making the work is like watching the cells of growing mould multiply. The labour intensive, obsessive process is an integral part of my practice. The cutting and piercing is irreversible and destructive, and it mimics the precarious, fragile state of the natural world.

 
 
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