My interest lies in the power to evoke disquieting and elusive moments with subtle nuances of hope- in the form of light that the richness and halftones of the mezzotint can uncover. Although I specialise in the mezzotint print technique I continue to paint ,photograph,draw and sculpt defining objects as they are brought out of darkness, just as a thought would emerge from ones memory. I am an explorer of twilight zones and ambiguous spaces. Much of my recent work explores ambivalence - suspended - the struggle with insight and doubt , hesitation and commitment – the difficulty of existence . Moments of isolation and dislocation, stillness and silence where introspection and alienation are consciously engaged and interrogated. People waiting in darkness caught between expectation and anxiety is the most haunting imagery .
I try to emphasize the singularity silence and loneliness of a form - transforming it from ordinary to something more profound - into the realm of dreams and poetry ; to translate the emotion and atmosphere around it .My source of inspiration comes from memory and subconscious which is rearticulated into my own visual language . I like to suggest not prescribe - what is missing in the shadows and is suggested provides the greatest potential for me .
Recently I am exploring the miniature format I have become fascinated by the power of the small print – it is a more intimate ,quiet , private experience , demanding control and focus and creating visual impact out of proportion to its size. The viewer is invited into an intimate and immense universe creating a very private experience as the viewer must come close and experience it alone.
The mezzotint is known as “ maniere noire” ( black method) it demands patience ,consequence, and precision. It is an extremely labour and time consuming process; an an intensely intimate one engaging the artist on a long arduous inward journey during the many solitary hours spent preparing the plate- the image tends to reflect this depth and distance of thoughts . The technique is particularly meditative ;It is about disappearing into the overall experience of the work and being totally absorbed in the process .
The technique is contradictory you create the relief and then eliminate it working from pitch darkness -painstakingly and carefully nursing the image out of the shadows and into the light - it has a primordial mystery . The tiny dots created are the ancestor of the Pixel .My journey is to deeper understand, raise my awareness and consciousness of light .
The technique offers a unique and direct dialogue between the burnisher tool and copper plate which continues to challenge and intrigue - working with the materials to a great extent is what the image is about. It offers a special resistance to my will and forces me to think and rethink my way to solutions.