My work is about a memory of a place and I use print and mark making to depict it. I often use monochromatic colours encouraging a nostalgic and melancholic look on the landscape.
My work is about a memory of a place and I use print and mark making to depict it. I often use monochromatic colours encouraging a nostalgic and melancholic look on the landscape.
In my work, I invite viewers to immerse themselves in a recollection of a singular journey to Danes Dyke intertwining print and mark making to creating the sense of place. Through my artistic practice, I invite viewers to inform what they are seeing with the layers of their own memories and experiences. To do this I embed mark making within the mono-prints encouraging the series to interact and generate the landscape with the oscillations of memory and place.
I am drawn to the versatile and unpredictable technique of monoprinting that echoes the unpredictability of memory itself; It creates its own interplay of light and shadow through delicate lines and subtle textures. In some of my work I then connect the monoprints with murmuration like mark making informing the journey creating a panoramic scene and transfer deep marks in the work to the walls reflecting each other and communicating to create images.
Both my line drawings and my print marks are inspired from this particular memory and so when I am printing, I knock back areas responding to what I remember. Then when I am drawing and interacting with the printworks I am interconnecting the images with the rest of the surroundings filling in the blanks to create a panoramic image.
My monochromatic prints of empty coastal landscapes embody hauntology in their depiction of a specific place filtered through memory. The absence of human presence amplifies the sense of nostalgia and melancholy, inviting viewers to contemplate the traces of the past that linger in the landscape. Through the prints, the coastal scenery becomes a site of haunting, where memories merge with the tangible environment, blurring the boundaries between past and present.
The monochromatic palette enhances the ethereal quality of the prints, evoking a dreamlike atmosphere where time feels suspended. Each print becomes a portal to a liminal space, where the viewer confronts their own relationship to memory and place, resonating with Fisher’s exploration of hauntology in contemporary culture.
When creating my line drawings I manifest the location and begin to map it out using a rag to move ink or charcoal around, contouring the land, then using conte going over the top adding marks and gestures replicating the movement of the elements. I believe line can convey emotion and narrative, and I strive to embed my work with a sense of place and movement, creating rich ground for the viewers to navigate.
I hope to create work that gives space for contemplation and reflection, where viewers can connect with the deeper layers of meaning embedded within each piece but then also enjoy the work regardless.
