King St

Which tools did you use for the creation of this piece?
Silkcut lino, carving tools, water-based relief inks and a rolling bed etching press.

What was the creative process behind it?
This print is a reduction linocut, meaning that each layer or colour has been carved from the same piece of lino. The process of carving can seem a bit backwards sometimes – you are always carving away material in order to reveal the colour below, or the one that was just printed.

What feelings come to you when you look at it?
I’m really happy with how this work turned out. It is from a larger series which aimed to reignite my love for making, rather than just making to satisfy a brief. Although it’s not technically perfect, I’m still really proud of this work.

“I don’t compose my images, I simply find them.”

What do you like most about this piece?
My favourite part of this print is how the materiality of a carved lino block captures the grunge of urban landscapes. The carved ‘noise’ marks mimic the textures of the buildings and the tags that decorate them. It wouldn’t be as successful if I had attempted to control the marks and replicate the details through illustration.

What were your references, influences or inspirations during your creative process?
Most of my work is inspired by little moments that I glimpse throughout any given day. These vignettes catch my eye and I have this impulse to capture them. I love urban architecture and the compositions it creates by itself. I don’t compose my images, I simply find them.

What did you enjoy the most about the process?
I find carving a block, and printing in general, very meditative. I enjoy zoning out and focusing on the task at hand. The precision of printmaking requires my whole attention, which I find quite therapeutic. Contrastingly, playing with colour allowed me loosen up and not dwell on perfection so much.

What was the hardest thing for you and how did you solve it?
Registration is the hardest part of a reduction linocut. At the time of making this work, I just tried my best to line up each layer using a registration sheet (which marks where the block and paper should go), then crossed my fingers that I got it right. I have since revised my system by adhering the block to a piece of card, and using pins and tabs to lock my paper in place each time.

Where would you like to see it exhibited?
I’m not sure where I’d like to see this print exhibited next. My practice is starting to take a new direction and I’m excited to see where King St may fit into this.

I would like to acknowledge the traditional owners of the land on which I work, and which is captured in King St, the Gadigal people of the Eora nation. I pay respect to Elders past, present and emerging.