Silk Printmaking

Works in natural pigments exploring perception, reversal, and clarity.

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Guided by the process of reversal, where meaning appears through reflection. Rooted in a practice that slows perception, each work holds tension until clarity resolves —offering considered works shaped by time and precision.

Photographic Stills

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Holding contradiction until clarity emerges.
Work for those open to slowing down and attending to perception, creating space where tension resolves into coherence.
Deliberate Slowness: Prioritising intentional pace and sustained attention over instant results.
Material Intelligence: Treating fibre and pigment as active partners in a living conversation.
Thresholds of Uncertainty: Using the unknown as a vital tool for new ways of seeing.
Navigating Frictions: Activating the space between opposites to find a coherence.
Honest Unfoldment: Prioritising natural rhythm and resistance over forced perfection.
Presence Over Resolution: Finding coherence in the ‘now’ than seeking a final, static solution.
The Aligned Response: Resonance between internal intuition with the physical material presence
Dissolving Boundaries: Inviting the observer to soften between a spectator and an active participant.
The Unfolding Unknown: Staying present within the natural creative process.

Natural Dye

Hands-on research in Japan, Peru, and India inform the development of natural pigments. Worked with to reflect memory, patience, and natural processes.

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Texture, Tactility & Layering

In the screen-printing process, tensions between screen and fabric emerge as silk, paper, and pigment register pressure, repetition, and resistance, with each interaction generating friction that accumulates as textural memory.

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Dualities

Threshold between control and intuition, movement and isolation, and surface and depth are activated and held in suspension to invite perceptual awareness, rather than interpretation.

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Historical Textile Tradition

Honouring textiles as living knowledge, their material intelligence is engaged with care in the present, where fibre, stain, and touch carry memory, meaning, and perceptual resonance.

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“My work explores the limits of language through processes of reversal. As a child, I wrote backwards—writing that was only readable in the reflection of a mirror—which shaped how I perceive and translate meaning.

I use printmaking on textiles as a natural extension of this logic: as its process is structured in reversal. Through it, I slow perception and create space for deliberate uncertainty, treating disorientation not as a flaw, but as a threshold for new understanding.”