While painting had always been my natural language, my early experience of etching during my foundation course stayed with me. I was captivated by its physicality, its discipline and its capacity for surprise. Bringing painting and etching together became an instinctive progression, allowing the immediacy and sensitivity of paint to inform the etched image, while the unique demands of the plate and the printing process continually reshape my decisions.

I have come to accept that I am not a printmaker in the traditional sense. The conventions of editioning presently hold less interest for me than the possibility of continual reinvention. Returning repeatedly to the same plates, I use colour as the catalyst for transformation, allowing each impression to evolve into a distinct work rather than a repetition of the last. The plate becomes a starting point rather than a fixed conclusion.

My practice exists in the space between painting and printmaking. It is an ongoing conversation between process and intuition, where each print records not only an image but also the decisions, discoveries and possibilities that emerge through making. Titles of the work are dates and sometimes time reflecting the importance and unavoidable elegance of date and time, a factual evidence of presence.