Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Handcoloured intercut woodcut printed on Japanese paper on Hahnemühle etch paper
74 x 74 cm
2026
My practice, built upon the modernist grid, explores memory, perception and psychological space through a hybridisation of painting, print, drawing and constructed form. I am interested in the point at which one process becomes difficult to distinguish from another, allowing each to interrupt and transform the next.
The works submitted form part of my ongoing Echo Chamber & The Seeds of the Narcissi series. These intercut woodcuts derive from an earlier site-specific installation, distilling its larger visual field into self-contained images through printing, hand-colouring, cutting and reconstruction. Marks are transferred from one surface to another through pressure and touch, then repeated, mirrored, divided and reassembled.
Organic and botanical forms are layered into architectural constructions, bringing together two visual languages: one associated with growth, proliferation and change, the other with structure, containment and order. Through repetition and mirroring, these elements become entangled, forming portals and thresholds into imagined psychological spaces. The compositions arrive at a kind of chaotic stability, where apparent order is continually constructed, disrupted and remade.
The myth of Echo and Narcissus provides an underlying structure through which I consider reflection, self-image, absence and the instability of perception. Like an echo, an image returns altered; repetition produces difference rather than sameness. Pattern, colour and symmetry offer visual seduction, while fragmentation and layering destabilise that initial encounter.
Repetition, mirroring, transformation and the handmade remain central to both the making and experience of the work.
Handcoloured intercut woodcut printed on Japanese paper on Hahnemühle etch paper
74 x 74 cm
2026
My practice, built upon the modernist grid, explores memory, perception and psychological space through a hybridisation of painting, print, drawing and constructed form. I am interested in the point at which one process becomes difficult to distinguish from another, allowing each to interrupt and transform the next.
The works submitted form part of my ongoing Echo Chamber & The Seeds of the Narcissi series. These intercut woodcuts derive from an earlier site-specific installation, distilling its larger visual field into self-contained images through printing, hand-colouring, cutting and reconstruction. Marks are transferred from one surface to another through pressure and touch, then repeated, mirrored, divided and reassembled.
Organic and botanical forms are layered into architectural constructions, bringing together two visual languages: one associated with growth, proliferation and change, the other with structure, containment and order. Through repetition and mirroring, these elements become entangled, forming portals and thresholds into imagined psychological spaces. The compositions arrive at a kind of chaotic stability, where apparent order is continually constructed, disrupted and remade.
The myth of Echo and Narcissus provides an underlying structure through which I consider reflection, self-image, absence and the instability of perception. Like an echo, an image returns altered; repetition produces difference rather than sameness. Pattern, colour and symmetry offer visual seduction, while fragmentation and layering destabilise that initial encounter.
Repetition, mirroring, transformation and the handmade remain central to both the making and experience of the work.