I feel so privileged to be mentioned in Volume 4 of ‘North’ as part of Jo Garrett’s wonderful interview on the darkroom.
I love the way that Jo talks about the magic of the darkroom, the physical interactions between chemistry and light, it is alchemy and I adore it. I think it is so easy to disassociate the physicality of making work from the final outcome which often ends up, framed and pristine, on a white wall.
When I’m working in the darkroom with Jo, I can relax. We often discuss the crossovers and co-dependencies of printmaking and photography. How each process informs, shapes and directs the evolution of the other, while still remaining very separate artforms.
I have always enjoyed being experimental in my printmaking and enjoy having the subtle effect of over printing in the same colour; for example, white on white or gloss onto acetate. With pale colours, a shimmer or glowing effect can be achieved and I have always adored this.
This is the first time that I have begun to print with black ink on to black paper. As any printmaker knows the quality of the paper is imperative and quality black paper in a reasonable price bracket can be difficult to source and manipulate. For this reason, I have never experimented with it, but with new contacts made and research done, it is time to start experimenting.