3D
Estuary (box form)

mixed media construction

These mixed media 'box forms' are made from shaped and painted wood with printed and textured paper collage elements and perspex inserts. I created the collage elements using drypoint and collagraph techniques. The prints were then torn or cut to shape and pasted into place. As well as these paper elements, I used relief printing techniques to create texture on the wooden surfaces. Each part was made and assembled in order, working from photocopied and collaged sketches which determined the scale and orientation of each element and prefigure the completed work.

A wall hung construction play with notions of three-dimensionality and real and illusionary space. Light is reflected or variously gathered by the different tonalities and surfaces of the work and the distinctions between shadow and substance are thereby challenged. For example, the transparency of perspex is used to 'float' marks between surface layers. Similarly, the skewed form and surfaces of the construction, as they appear in 'real' space, counterpoint the illusionary space created by the printed marks .

These pieces are made and conceived using printmaking techniques and tools and relate directly to the concerns of printmaking. Intaglio printmaking forces ink into the damp paper through the enormous pressure of the press. In this way, the marks held by the printing matrix are fused with the paper fibres, creating a new combined surface. This surface can also be descriptive of other illusionary surfaces and space. The pieces are inspired by close examination of the surfaces created by intaglio and also by the methods used to create a matrix for printing. At the same time they take the print off the page, using those techniques and qualities to realise a multi dimensional sculptural object.

Estuary (box form)

mixed media construction

These mixed media 'box forms' are made from shaped and painted wood with printed and textured paper collage elements and perspex inserts. I created the collage elements using drypoint and collagraph techniques. The prints were then torn or cut to shape and pasted into place. As well as these paper elements, I used relief printing techniques to create texture on the wooden surfaces. Each part was made and assembled in order, working from photocopied and collaged sketches which determined the scale and orientation of each element and prefigure the completed work.

A wall hung construction play with notions of three-dimensionality and real and illusionary space. Light is reflected or variously gathered by the different tonalities and surfaces of the work and the distinctions between shadow and substance are thereby challenged. For example, the transparency of perspex is used to 'float' marks between surface layers. Similarly, the skewed form and surfaces of the construction, as they appear in 'real' space, counterpoint the illusionary space created by the printed marks .

These pieces are made and conceived using printmaking techniques and tools and relate directly to the concerns of printmaking. Intaglio printmaking forces ink into the damp paper through the enormous pressure of the press. In this way, the marks held by the printing matrix are fused with the paper fibres, creating a new combined surface. This surface can also be descriptive of other illusionary surfaces and space. The pieces are inspired by close examination of the surfaces created by intaglio and also by the methods used to create a matrix for printing. At the same time they take the print off the page, using those techniques and qualities to realise a multi dimensional sculptural object.