Printmaking gives me structure, but it never behaves the same way twice.
I work mostly in photopolymer etching—a process that starts with a metal plate and ends with I can’t predict. The plate gets coated, exposed, inked by hand, and run through the press. What comes out is always a little different: textures I didn’t expect, edges that surprise me. That’s why I love it.
It’s slow. It requires patience. But within all that repetition, there’s space for intuition. Layering. Play. Sometimes I combine techniques—drypoint, monoprint, chine-collé. I follow the work where it wants to go.