I’ve been practicing reduction linocut for just shy of a decade at this point. My extremely reductive approach to printmaking came from an initial urge to include more colour within my prints when first starting out. I would say my method is somewhat unorthodox as the prints always consist of anywhere between 50-150 individual registrations.
Each registration is applied by my own shaky hand – a time consuming process – as there’s never been a press involved, and for this reason, coupled with the detail, my editions rarely surpass the 10 mark.
My eye is generally drawn towards still, unspectacular and mundane objects. ‘Portacabin 3’ is part of an Athens series I carved in response to the homogeneous portacabins dotted around the Parthenon site when I visited – I found those just as visually interesting as the temple itself.
‘Ten to Ten’ on the other hand, my first submission, depicts a row of Cowboy mannequins watching a mannequin football match in a beautiful field. Just before lockdown I did a piece called ‘Monolith’ a linocut of the ever-present Mona Lisa crowd at the Louvre that I experienced first hand, and that too came from a similar perspective of looking away from the thing you should be looking at.