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Statement
The genesis of my work can be found in what I think of as my childhood memories. However, I am aware that these memories are probably a mixture of family anecdote, photographs and vague visual tableaux I have stored in my mind’s eye but which bend and shimmer as the years go by.
It is a fact that memory is not as accurate and reliable as we would like to believe. On the contrary, precious memories to which we cleave turn out to be random palimpsests. These constructs become our personal history, embellished and reinforced by continuous re-remembering.
My prints visualise some of my memories, but during the making I am always conscious of the fact that they have become part fable.
I work quite instinctively, responding to ideas which surface as the work progresses. All the images are screenprints, traditionally regarded as a rapid method of printmaking compared to etching and lithography. However, the way I use the technique has become its antithesis, as it is slow and many-layered. This way of working serves two purposes, firstly to build up a rich colour base, and secondly it allows a work-in-progress approach.
I always begin a print with a strong idea of how it might look, but during the process, the idea is inevitably subverted, with the result that the image is changed, sometimes radically. I always try to remain receptive to new ideas and shifts that might occur to me during the printing stage. With screenprinting, the whole edition is created simultaneously, which gives plenty of scope for changes, as when making a painting. Similar to memory, the act of making a screenprint is dependent upon a variety of outside influences.
For me, screenprinting is the closest printmaking method to painting, which is perhaps why I prefer it to any other.
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please click images:
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