In my work, I draw inspiration from myths, folklore, and history. Myths illustrate how we perceive the world and how we interpret our surroundings, creating shared cultural experiences. I explore the creation of mythic creatures and unnatural beasts, subverting the traditional interpretations to create new meaning and finding connections in the symbolism that brings myths together. To do this, I use the language of flowers to convey meaning and emotional tone in certain works and environmental symbols in others to convey a feeling of place in between spaces. Many of the symbols I use are drawn from religious iconography or literature. I would like to continue my exploration of the influence of historical folklore to reveal the nature of superstition in a modern context.
My process relies heavily on experimentation and exploration of materials to further inform the work. When creating monoprints, I often use the same matrix to create several prints in succession without cleaning off the marks or ink from the previous print. More than just allowing for ‘ghost prints,’ the marks left create room for a new interpretation with each print pulled. In work that is more rigid in printing method, such as etchings or relief, I use the creation of the matrix as my experiment. Whether adding in new textures or patterns in an otherwise simple drawing, or allowing for the application of acid and resist to create their own unexpected results, I prefer to only plan the outline and allow the media to control the end result.
In my photographs, my experimentation takes the form of using small lights and the movements of my models to create the image of something that can be both human and unnatural. This technique is best used from the time just after sunset and into the night, creating a connection with the night and the idea of time and space. Using long exposure, I can create the full photograph in one shot. Where photographs are often considered a captured moment, the amount of time it takes to take one exposure extends this moment by seconds and even minutes, prolonging the experience. This creates a layering of moments much like the layering of marks and ink in prints. It gives an impression of a memory or an evocation, drawing the mind to find familiar images amongst something that could be otherwise unsettling or unintelligible.