If photography has moved from analogue to digital, printmaking has transitioned from building and pressing ink mechanically onto paper, to layering and digitally compressing data virtually on-screen. I weave between these traditional and contemporary processes, as an antidote to our high-speed age and immaterial images. In each work the personal trace of the hand is evidenced and implemented in conjunction with an exploration concerning physical, digital and virtual surfaces.

My process begins with a puncturing moment of heightened attention and arresting consciousness formed in nature, which is responded to by framing a scene as a photograph; slicing through reality and space to fix the instant. The image is then manipulated, printed and re-captured to skew resolution and create distance from the subject. Palpable qualities of the actual surface and pixelated screen are introduced, forming an internal dialogue between image and perception on one plane. The final prints serve as armatures on which to hang the rigorously slow process of precise cutting with a scalpel; thus tracing and removing the reduced digital file as binary code. The cut marks veil and dispel photography’s illusions by revealing the physicality and real depth of the medium, implicating not only the space in front but also behind the work. This so, the pieces straddle two and three dimensions, and so incite the viewer into motion in real time-space, oscillating between abstract detail and figurative whole.