since graduating, that has often included a combination with sculpture, installation and performance. Although specialising within printmaking, I never confine myself to just one of its many disciplines I will happily experiment with a number of difference types before settling on the aspect I think will be most appropriate for my ideas. In terms of what I make my work about, the subjects are normally something I have read about in the paper or have seen in the news. I love building works in response to conversations and debates had with friends, neighbours and those I share a studio with, and more often than not I make work to engage audiences with something they may not necessarily have chosen to interact with before, be this political, social or even cultural aspects of our contemporary society. I want to break down barriers that can often be raised with political topics, as the changes happening in the word around us affect us all, no matter who we are or where we live. You have a solid formal training and you graduated from the University For The Creative Arts, Farnham with a Bachelor of Fine Art: how did formal training impact on your evolution as an artist? In particular, how does it inform the way you currently conceive and produce your works?
The technical training I received in Farnham, I must say, was second to none. I will always be grateful for the many disciplines and practices that my print technician Jonathan Jarvis shared with me. I think some of the best pieces I produced where off the back of informal conversations that turned into tutorials and print debates in the workshops. When you begin with the messy part, the physicality of printmaking and working backwards, there are certain topics and issues which for me seemed to have such a synergy with printmaking itself that I felt there was no other way to resolve my ideas than developing the discipline to merge with my topics. I canâ€™t help but think it has to be more than a coincidence that the very language we use within printmaking is shared with politics; the bite of an etching and the gouging of a woodcutâ€Ś There are no fixed rules in fine art apart from the
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