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Hand Prints

Printmaking is an artistic process based on the principle of transferring images from a matrix onto another surface, most often paper or fabric. 

Power Labyrinth 

Linocut 2020 

I have found inspiration from the Minoan civilization of Crete, the first advanced European civilization. I am inspired mostly by artifacts and buildings along with the various symbolism found in both. I have focused on the Minotaur and the Snake goddess figures and try to understand their place in a contemporary context.

Within my process, I explored unplanned free flowing drawing while learning about the history and practice of these people. Within the ‘Power Labyrinth’ I’ve used the myth of the Minotaur to express a current state of chaos and power within the city and governments. The Minotaur is a mythical beast, half man and bull, it was seen as a monster that devoured humans and was built into a labyrinth to be contained. I use the Minotour and bull leaper as a symbol of the violent animalistic nature within mankind. The labyrinth is a maze where one needs to navigate a way out, however in modern life these traps are often self inflicted.

Seed of the Earth

Linocut 2020

The second work ‘Seed of the earth’, is inspired by the Snake goddess who is also known as the household goddess connected with domesticity and the great mother archetype. The snake is representative of the underworld and the renewal of life (rebirth). This forms as a tribute to the woman affected by femicide, guiding them with protection in the afterlife. The woman is also closely associated with the creation myth and the birth of consciousness.

Story of a Line

Collage Linocut 2018

Through the use of mark making, I have used line as a mode of narration. Story of a Line is a textile response made through inducing various altered states. With the process of printmaking I am able to edit and recompose compositions that allow for the evolving of textural narrative. 

I define my process of mark making as explorative and automatic, allowing it to fall into modes of asemic writing, which are also defined as an open semantic form of writingAsemic writing may take many forms, but its main trait is its resemblance to traditional writing. I play into the illusion of text and symbols, allowing the organic line to morph into its own landscapes and forms.

The Autonomy in asemic writing offers meaning by way of aesthetic intuition and not by verbal expression. In Story of a Line, I use writing and mark making as a point of access to the world around me. The environmental and emotional fluctuations influence the change in texture and line within this body of work. I see the printmaking process as one that is linear and thus I am able to use the line and colleague as a means to translate text, texture and symbol into a dimensional realm.

Copper Worlds

Copper Etching & Ink 2018

Marks on Copper 

Copper Etching 2019

Deep Dive I

Linocut  2018

Deep Dive II

Linocut 2018

21st November 

Linocut  2017

Formed part of my early development into the unconscious and my interest in imaginative  worlds. The print is made up of dates scattered among geometric lines. The dates correspond with detailed dream descriptions kept in log books. 

I video recorded myself  sleeping and was interested in the clear difference between waking and dream REM realms. The geometric lines are  simplified recordings of  my physical body sleeping in contrast to the fleeting dreams experienced.

Cloud-spotting Reality 

Linocut 2018

I am interested in subconscious imagination and the way it integrates with reality.  Confusion in distinguishing cognitive function occurs. In ‘Cloud-spotting 11:11’, I uncover my own deepest moments of confusion, something like dissociation-  between existential thought and reality. In order to rationalise between worlds, I have created a structured, order-like ritual of time keeping to diverge thought. I focus on tangible living objects and rigid times.

My marks are heavily integrated with no specific focal point, allowing the viewer to get lost in, and create their own subject matter in the ambiguous marks, resembling that of cloud spotting. The denseness spread across my work serves as a metaphor for the fragility of life and its large magnitude.

In my attempt to capture a fragment of life, I transformed the function of concrete with print-like qualities, the surface acting as fossilised moments derived from an intangible thought.

Tales & Time 

Linocut 2018