Recently I've been exploring earth pigments on linen, using soy to bind colour to cloth. It's a slow process. 

Soy has been used as a pigment binder in Japanese textile art for centuries. While some of these techniques inform my work, my methods, intentions and results are quite different. 

I’m driven to create work that feels organic, like it could have come out of the Earth itself. I also want it to be able to go back into the Earth without causing harm. If I have any pigment left over I pour it into my garden. If I don’t like a piece I rinse out the cloth and start again or turn it into a drop cloth. When I work like this there’s no dissonance between my process and the story I want to tell.

I still sometimes use acrylic, particularly ink, combining it with rust, earth pigments and cyanotype. The unpredictability of the interactions and reactions that arise between natural and synthetic materials speaks to the often jarring encounters that occur when humans forget that whatever we do to the Earth we also do to ourselves.

Thank you for being here x