It is difficult to write about how I work and what triggers or motivates me when I make art. Although at certain points I plan my work, much of what I do is intuitive. Usually each piece will tell me what to do. I limit my use of colour as a means to control my outcomes. Composition is one of the most important aspects of my work.

My work can start from a variety of places. It might be drawing, dying, colour combinations, photography, feelings, or writing. Once I have a collection of imagery I use it many times over, in both positive and negative form and on a variety of scales.

As my work progresses it is not necessarily the subject matter that interests me any more, rather the many ways in which it can be played with - layered, obscured or fractured. I experiment with the interaction between the images. I aim to get as much from a particular range of imagery as I possibly can.

Subject matter is my most frequently used starting point. It might be a small, unappreciated aspect of the natural world or a spectacular structure invented by a plant. It could be some intricate piece of machinery or discarded man made object.

I have a preoccupation with pattern and repetition and am drawn to the unappreciated or forgotten.

Serendipity also plays a role in the pieces I make and accidents, although frustrating at times, are welcomed, accepted and enjoyed. It is important to me to embrace mistakes as this is when I make discoveries.

In some pieces I aim to capture the mood or feeling of a place – imagined or otherwise. In others I want the viewer to want to touch the surface, get drawn in and wonder what else they might find if they come closer.

I work on several large pieces at a time then, if and when called for, I cut them compositionally and work on the new smaller pieces to improve the arrangement and add more layers of print or paper.

Composition is a preoccupation for me – that place where a focal point is in its most peaceful position, or when an image falls off the edge of the composition is such a pleasure. It knows when it is right.

Most recently I am working on gauzy fabrics, laminating them with paper imagery to act as a resist and use these as very loose screens for printing. It is an expressive, painterly way of printing and the results are often fractured and deconstructed. Probably a print maker’s nightmare! With time and use the screen takes on a life of its own. It becomes a piece of art in its own right. I work back into these and then encase them in acrylic blocks. They cast shadows in bright light and this slow moving image combines itself with the cloth in the block.

The pieces made by printing through these loose screens are also fractured, layered pieces but have a more solid feel as they are worked onto linen, cotton or silk. These pieces might be stretched onto canvases or laminated onto industrial felt. They might be allowed to hang freely to move in a passing breeze.