I have a great love and respect for the jade plant. In my many paper explorations I have chosen to investigate in many directions. All of them direct me to love and gratitude, illumination and contemplation of life’s complicated journey.
The whites in this paper painting are from 1802 and 1897. The softer yellower one is the older of the two and is from the famous shakespear press and boasts a gilt edge that I use to articulate in bright areas and wide soft ivory margins that sometimes include old moisture spots created due to the binding in of etchings that weren’t dry enough. The silky bright white is from a travel tog to antartica, one of the very first. The silky paper stock was undoubtedly chosen to echo the reality of the land of ice and its sensorial similarity to the feel of melting ice.
The paper palette stretches 300 years, the oldest being from 1723 and the most recent (and darkest) from 1972. I like to think of the flow inside my jade as a musical one, the dance of light and water, ever moving and growing. The plant world gives me great comfort, I thought it only right to make a series of pieces that honour this solace.
I have a great love and respect for the jade plant. In my many paper explorations I have chosen to investigate in many directions. All of them direct me to love and gratitude, illumination and contemplation of life’s complicated journey.
The whites in this paper painting are from 1802 and 1897. The softer yellower one is the older of the two and is from the famous shakespear press and boasts a gilt edge that I use to articulate in bright areas and wide soft ivory margins that sometimes include old moisture spots created due to the binding in of etchings that weren’t dry enough. The silky bright white is from a travel tog to antartica, one of the very first. The silky paper stock was undoubtedly chosen to echo the reality of the land of ice and its sensorial similarity to the feel of melting ice.
The paper palette stretches 300 years, the oldest being from 1723 and the most recent (and darkest) from 1972. I like to think of the flow inside my jade as a musical one, the dance of light and water, ever moving and growing. The plant world gives me great comfort, I thought it only right to make a series of pieces that honour this solace.