Since developing A Tapestry of Connection, photopolymer gravure has become central to my printmaking practice. I was initially drawn to it as a more environmentally conscious approach to printmaking that I could develop in my home studio. Combining photography, digital image-making and traditional intaglio techniques, the process fits naturally with the way I work, allowing me to move between observation, image development and the physical act of making prints.
My work begins with walking, collecting and looking closely at the landscape around me. Plants, birds, insects and found materials become starting points for prints in which I explore scale, tone, colour and detail, giving presence to things that are damaged, fragile or easily overlooked.
The print shown here is a working proof rather than a finished edition.
The print shown here is a working proof rather than a finished edition.
View the project → A Tapestry of Connection
Photopolymer Prints – book size W19.5cm x H25cm 2026
FROM OBSERVATION TO PRINT
Images are photographed or scanned, digitally worked and transferred onto light-sensitive photopolymer plates before being printed by hand using traditional intaglio methods.
The prints shown here are working proofs rather than finished editions.
Natural and human-made traces appear alongside one another in my work, reflecting the different ways we inhabit and leave marks upon the landscape.
On Going Studio Practice
