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The sea is enduring; it was born long before me and will be a permanent fixture in lives to come.
The beginnings of life are shrouded in myth and the sea itself is full of mystery largely unexplored, existing in a timeless manner. The rock formations are forged slowly through time and pressure, a process so gradual yet persistent.
With the Monoprint I begin from the void. I remove the ink to create the architecture of the land and employ various techniques of mark making. I use gestural strokes with rags or cotton pads to represent the action of the sea, then rigid lines using a palette knife to control the proud outcrops of the mainland.
Through a course of experiments I add ink in a series of lines to sections of the land, establishing the dark forms against the paler waves. To create the reverse print, the plate must go through unyielding pressure, much like the compaction and cementation of the sea. The balance between control and unpredictability is fundamental in my practice, as the behaviour of the ink shifts whilst undergoing pressure. The transformation is unknown until I remove the paper from the plate, as no print is alike. Through a process of repetition I discover contemporary techniques and gain more awareness of the nature of the medium.
My gestural marks are a language of what I feel when I view the sea. Each time it arrests me, and I feel a calming sense of security as if visiting my past home. I enter into my backlog of memories. I desire my work to induce the viewers into a similar experience, the singular use of black stirring their own personal relationship to the sea. No recollection will be alike.
My practice is devoid of figures or proof of civilisations, and has no reference to any specific time period. Thus it allows the viewers to immerse themselves in the work, revealing their own memories and experiences. I believe the introduction of colour into my work would be distracting; my intentions are to keep my work as honest and direct as possible.