Print Room Drips


I had a free-range childhood growing up in Africa and at school in art classes we learnt Batik (using dyes and wax resist on fabric) and were encouraged to draw fantastical vegetables rather than facsimilies.  These opportunities definitely influenced my aesthetic outlook.

Coming to Britain I trained as a textile designer (BA Hons, Leicester Polytechnic), and then moved to London and worked as an editorial stylist in fashion and interiors.  From there I moved to the design and development of home interiors products for an international retail brand.  I recently went back to college (London School of Art, City & Guilds) and studied an MA in Fine Art.  My final project for that included making a series of etchings which showed me new ways of making images and rekindled an interest in mark making and experimental printing.


I think drawing is fundamental to an art practice and it’s a good way to understand how an image works, but that understanding and the expectations it creates are often confounded by the results of the printmaking process: there are surprises to be had every time a new print is revealed, and things to be learnt from the results so that one piece of work leads to another.

The imagery I use often comes from the natural world and the details of the colours, marks and patterns of it that have caught my attention. I take a lot of photos which I return to often for reference and inspiration.  Sometimes I use nature directly (such as leaves and grasses, or the patterns in marble) as part of a screen printing or etching plate process.  Recently I have combined these ideas with imagery from the Renaissance which I have been studying.

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