I began the year by using the remnants of a family hammock as the starting point for my work. Through a variety of printmaking techniques, I used this artefact as a means of exploring and thinking about what remains once something or someone is gone.
hardground etching, aquatint
Hammock no. 1 14.7x17.5cm
multiple plates, hard ground etching, carborundum
Using different etching techniques, including hard ground for sectional drawings and soft ground for making impressions from the fibres, I focussed on creating layered and evocative imagery from the hammock’s broken and disrupted surface, leaving it to the viewer to find and interpret meaning.
During lockdown, I found myself struggling to maintain the same approach and level of output as before and turned instead to cyanotype as way to capture elements from my daily walks. As the manmade sights and sounds receded during those early days, the natural world seemed to expand to fill the void. Birdsong was louder, flowers seemed more prolific, larger and more vibrant and I wanted to capture and remember this unusual and unique period of time. Cyanotype allowed me to work spontaneously and quickly. Leaving the prints for hours in the sun, I would return later to be surprised by images that possessed ethereal ghostlike qualities that hinted at what had previously been there.
sugar lift, fibre-embossed monoprint
All of my work has taken on a much deeper, more personal significance in the last weeks due to the very unexpected death of my mother. It’s to her memory that I dedicate my work.