How did you become involved in artist’s books?
After graduating with a Fine Art Degree, I was invited to take part in funded projects where I explored place and objects within them. I found artist’s books an accessible way to show my printmaking work without it being in frames. Several prints can be shown at the same time with interesting juxtapositions. For example I made a concertina book inspired by pattern at Powis Castle, near Welshpool. I gathered images relating to the diverse range of pattern in objects, textiles and the fabric of the building. Using images and memories that spoke to me the most I went on to create screen prints and blind embossings that were then incorporated into this concertina book. The book was exhibited in Powis Castle and as part of a group touring exhibition. I made further books for projects and have also become a member of the Society of Bookbinders in order to learn more about making books and bookbinding.
What is the focus of your practice?
My practice revolves around memories of places visited and the objects within them. Images and feelings of these spaces are retraced to create an essence in print and painting. Colour is important and I juxtapose resonating colours to alter the mood of the work. I also create blind embossings, devoid of colour, requiring closer inspection and leaving subtle, visual contrasts in the paper.
What are you working on at the moment?
I’ve been researching parts of the North East coastline looking at the geology, (rocks, erosion, etc) to make some artist’s books and prints. Recently, I also visited the Cumbrian coastline and am fascinated by the patterns that the sea makes and how it erodes and leaves traces of moments in time. Research from this will also be made into artist’s books and prints, incorporating screen prints and blind embossings.