This series explores the journey of a river from the source to the open sea. Themes touched upon include time passing, light, colour, and change. The etching plates are deeply bitten and have been heavily worked in successive layers over time. Translucent, pure colours are layered on to the plate, which are pressed onto handmade paper leaving deep, coloured relief. It is remarkable that the robust zinc etching plates and press can replicate the flowing and transient nature of water. The techniques used in this series are rarely, if ever, seen in etching.
Originally inspired by antique Parisian wrought iron and artists such as Jim Dine and printmaker Aldo Crommelynk, the themes of life and death are explored through the medium of etching. Etching lends itself to the visual description of the erosion of metal; of solidity and durability. However the elusive atmosphere of the ethereal and transient has been captured. A visual barrier is presented, yet the viewer in no way feels that the pictorial space is inaccessible. The physical carving of the metal has also been used to give a tactile approach to the sculpting of the human form, in particular the infant which is quite literally being formed and genetically sculpted within the womb.
These works explore the fleeting nature of seasons and time of day. They are partially inspired by the Impressionists, but use thoroughly contemporary methods, including electric tools and aerosol aquatints. The physical surfaces of the prints are heavily embossed, which is caused by leaving the zinc plate in the acid for days. The plates for the Mulberry Tree series are mirror images, and thus when hung consecutively they appear to twist and turn, dancing through the seasons.
Landscape remains a fascinating subject; always different but also the same. Spending time and drawing a particular area over time imprints aspects of it on one's memory. It is a way of exploring an area in depth. The Margate series of etchings are drawn from views that JMW Turner knew well and worked on many times. Having known Margate from childhood, the colours in these etchings are remembered from past long hot summer days.