and the little ‘glitches’ as I call them. The work allowed me to be very experimental, cutting up the images, tearing them and crumpling the paper up to get the effect distress. To finish the images I riso-printed them. Partly for the beautiful textures and the vibrant colours that can’t be achieved
with mechanical printing but mostly to add another layer of that unknown element. To me, printmaking is much like stammering. I control what I want to say and how but there’s always some element I couldn’t prepare for. The little mistakes that make up the aesthetic of my work, and my speech. 43