My work is influenced by a preoccupation with nature, ecology and the environment and in my practice I embrace techniques as diverse as stained glass, bookmaking, print, letterpress, video and installation. One of my areas of interest is what I describe as ‘arte polpa' (pulp art) which has made up a large part of my output in recent years.
I often use organic material along with pure cotton and create the works using layers of dyed pulp in a wet-on-wet or wet-on-dry process. I’m drawn to the simplicity and strength of the material, it's feeling of fragility and it's alchemical appeal. I try to push the natural texture of the pulp and to exploit the deckle edges that the process produces.
My exhibition Earth is Calling at the crypt gallery, London towards the end of 2019 was an emotional response to environmental changes, shifting boundaries and transformation part of which included large-scale fibre art paper pulp works, On that occasion, I wanted to compare works made with natural materials and others created using man-made fibre plastics as an exploration of ideas of aesthetics and fragility, looking at beauty both in terms of its ability to mask and mislead, and its power to persuade and promote ideas in a positive way.
More recently I’ve been working on a large-scale installation piece that’s made up of 72 panels incorporating old sayings with scraps of nostalgic thought, printed with letterpress type.
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I often use organic material along with pure cotton and create the works using layers of dyed pulp in a wet-on-wet or wet-on-dry process. I’m drawn to the simplicity and strength of the material, it's feeling of fragility and it's alchemical appeal. I try to push the natural texture of the pulp and to exploit the deckle edges that the process produces.
My exhibition Earth is Calling at the crypt gallery, London towards the end of 2019 was an emotional response to environmental changes, shifting boundaries and transformation part of which included large-scale fibre art paper pulp works, On that occasion, I wanted to compare works made with natural materials and others created using man-made fibre plastics as an exploration of ideas of aesthetics and fragility, looking at beauty both in terms of its ability to mask and mislead, and its power to persuade and promote ideas in a positive way.
More recently I’ve been working on a large-scale installation piece that’s made up of 72 panels incorporating old sayings with scraps of nostalgic thought, printed with letterpress type.
BLOG FACEBOOK FACEBOOK (2) INSTAGRAM TWITTER LINKEDIN
