My work is to do with process and technique; colour and pattern are the means with which I investigate these.  After exploring screen-printing, relief printing, intaglio and drypoint printing, I have found abstract monoprinting gives me the greatest satisfaction; the process is spontaneous, with direct connection with the inks as they are placed on the plate. I enjoy and am excited by the results when making these monoprints, most recently using stencils cut freehand – there is nothing quite like the anticipation felt as the paper is carefully lifted from the plate, as the result can be unexpected.

Why do I use bright colours? The reason could be that I was born three days before the start of WW2. From then until the early 1950’s, nation – wide strict rationing was implemented by the Government; it included clothing, and my memories of this time do not include much colour. From my teens onwards I have been drawn towards bright colours - in my clothes and in my artwork. 

In my prints, there is no intention to represent forms, or landscapes – what the viewer may see is governed by their emotional response to the patterns I have created and the colours I have used. As I acquired knowledge of inks, paper and techniques, I was encouraged to make prints of A2 size. Due to the epidemic, I have been forced to work at home, and have adapted to making small prints, the largest of which is 19x39cm. Maintaining motivation has been hard but I enjoy making prints on my adapted XPress Craft Cutter– and have achieved some good results. 

Currently I am exploring the transparent qualities of the inks. This has meant a change in my working method: from layering stencils wet-on-wet, to letting each ink layer dry before applying the next one. I am happy to say that the elements of surprise and excitement are still there.