Moon
Moon is a small linocut print that began as a rough idea carved into a block. It is the first piece in a series made for Shiva, and the moon was chosen as the softest way in. Small in scale, it carries the whole series.
Limited editions and unique works across linocut and cyanotype.
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Relief printmaking technique where images are hand-carved into linoleum blocks, ink rolled onto raised surfaces, and transferred to fine art paper with intense hand-burnished pressure.
19th-century alternative photographic process using natural ultraviolet sunlight and iron salts to create characteristic Prussian blue impressions on fine art paper.
Linocut is a demanding subtractive printmaking discipline where every cut into the block is permanent and deliberate.
The composition is drafted and transferred in mirror-image onto the linoleum matrix, balancing positive black forms with negative spatial rhythm.
Hand-carved across dozens of hours into the block. Raised untouched surfaces retain ink while carved recesses preserve pure paper.
Artist-grade ink is rolled in smooth layers. Paper is aligned and hand-burnished under firm, even pressure.
Moon is a small linocut print that began as a rough idea carved into a block. It is the first piece in a series made for Shiva, and the moon was chosen as the softest way in. Small in scale, it carries the whole series.
Ordinary Objects is a linocut that grew out of the covid period, when being homebound changed the way familiar surroundings were seen. Objects often overlooked countless times began to get noticed and became the whole world around me.
This piece observe a lamp, a tea set, umbrella, the most familiar object found around us. We tend to notice spaces when something changes. This series began noticing what was already there. Some of these objects are just things I’ve grown up around. These are small things which occupy the micro spaces in macroenvironment.
Ordinary Objects 3 continues the Micro Spaces in Macroenviornment series, looking closely at the familiar spaces and objects that usually pass unnoticed: a candle, a flower, a few bottles on a shelf, a checkered floor.
Documenting them reveals the ordinary things that make a home a home. Every texture, line of hatching and shade was carved by hand, one cut at a time, with no undo once the block is cut. The closer you look, the less ordinary it becomes.
Shelter looks at fatherhood through the ordinary things: a shirt pocket, always full, and an umbrella. Brought together in one print, these two forms speak of protection, provision and the quiet things that often go unnoticed. It is also an expression of gratitude for everything received while standing under someones’s shelter.
First formulated in 1842 by Sir John Herschel, cyanotype is an alternative photographic printmaking process using natural sunlight to transform minerals into deep indigo blues.
Watercolor paper is hand-coated in subdued light with an emulsion of ferric ammonium citrate and potassium ferricyanide, then cured in darkness.
Botanical specimens and hand-cut silhouette forms are placed in direct contact atop the dry paper and exposed to midday natural ultraviolet rays.
The exposed sheet is thoroughly washed in cold running water to clear unexposed emulsion, deepening into its rich Prussian blue tone through natural air oxidation.
Hand-coated light-sensitive emulsion exposed under direct solar rays on fine art paper, capturing organic shadows in deep Prussian blue.
Complementary circular celestial study developed with sun exposure and pure water wash, balancing geometric restraint with natural variation.
Natural botanical specimens pressed in sunlight, revealing intricate organic silhouettes and delicate leaf textures in Prussian blue.
Sun-exposed botanical composition on heavyweight fine art paper, exploring the rhythm of natural foliage against sunlight.
Exploration of translucent leaf structures and rich Prussian blue gradients captured during midday solar exposure.
Direct contact solar photogram capturing fleeting botanical memory with delicate feathering and edge contrast.
Concluding plate in the five-part botanical sun series, embodying the quiet transformation of light into deep indigo tone.