My practice explores how images can hold emotional residue - what remains after an experience has been cut apart, reassembled, or lived through again in a different form. Working across digital and traditional printmaking, I treat every stage of construction as a psychological gesture: taping, rubbing back, transferring, repainting. These processes mirror the dynamics of memory - how it fragments, returns, resists, and repairs.

Much of my imagery begins with lesser-known historical paintings. I digitally intervene in these works, breaking them open to reveal new rhythms and emotional currents, before printing, cutting, and recomposing them into layered surfaces. The final works are built through repeated transfer-printing onto wood panels; each transfer requires the paper to be rubbed away by hand, leaving abrasions, seams, and pressures that become integral to the composition. These marks are not incidental - they function as traces of contact, labour, and reflection.

I am particularly interested in group movement and shared gestures, especially moments of joy and collective energy found in early Renaissance and Mannerist scenes. Translated into my own material language, these gestures become unsettled yet luminous forms: figures dissolving into atmosphere, rhythms re-emerging as abstractions. They echo both the ruptures and the possibilities present within my own childhood memories, where joy and uncertainty often coexisted.

My background in set and costume design informs the sense of staging in my work: the surfaces feel inhabited, as though something has just happened or is about to emerge. Influenced by psychoanalytic ideas - particularly those concerning trauma, repair, and integration - I use printmaking as a way of negotiating what is carried, reshaped, and ultimately transformed.

Through acts of cutting, layering, and reconstruction, I aim to build images that feel both vulnerable and resilient - sites where memory and material come together to form something newly alive.