- CollegeCentral Saint Martins
- CourseMA Fine Art: Digital
- Graduation year2025
I made these etchings without a fixed concept or a pre-plan. They began as a response to the accumulation of something I read, saw, or thought about and then filtered through fragmented internal dialogue and shaped by playful engagement with materials.
The process itself was central to their own development and creation. Each plate has several layers of work. As I engaged with each process, the image revealed when I ran the zinc plate through the press and showed me the next step. The surprises, frustrations or shifts that occurred led the work and became part of it.
What emerged feels closer to instinctive mapping than a pre-planned script. Each etching holds traces of internal and material dialogue, often fragmented or unresolved.This work is not about offering answers or responding to a specific concept, it is a portrayal of a journey. Each print is part of a wider abstract narrative that remains deliberately open.
I invite you to respond:
What do you see?
What memory, feeling, or story rises to the surface?
Visit my Instagram @tell.me.what.do.you.seeChoose any piece to reflect on, interpret, or narrate in your own way
Final work
Five Figures
Etching Print
Image size 300x200mm
Paper Size 540x360mm
The Shepherd and the Goat
Etching Print
Image size 300x200mm
Paper Size 540x360mm
Dialog in the Void
Etching Print
Image size 300x200mm
Paper Size 540x360mm
Etching animation
I used AI to animate some of my etchings. This is work in progress
Research and process
A short video depicting my progress during the MA course
A short video depicting my progress during the MA course
Beneath the Surface
Beneath the Surface
These images are a continuation of the ongoing work on the River Thames. My persistent obsession with walking alongside its banks is something I can't fully explain.
Making these images is very technical and ritualistic. I use a 5x4 camera with Black and White negative film. After setting up the tripod and installing the camera, I frame and focus meticulously under the dark cloth. Take light readings, adjust aperture and exposure speed and insert the film holder. While engaged in this technical process, my thoughts drift beneath the surface of what is in front of me.
I am thinking of the lives taken by the River, the discarded objects, rituals, the hidden stories the River could tell. I think about the mourning, the letting go, and suppression, the lost belongings, the ships bringing in stolen colonial goods, money, power, and poverty. Pollution. Children swimming. People drowning. Mothers crying.
The River Thames becomes a kind of archive keeper, holding on what society wants to discard, hide, forget, while its bed is lined with mud, garbage, old items, bones, notes to the dead, echoing with each tide and ebb the forgotten stories.
The pollution of the city is dumped into the same waters that made this place into a city. The water is filthy. The smell is so thick. Each ebb reveals the same river bed but in a different state. I photograph the riverbed exposed by the tide going down; my photographs juxtapose movement and residue, revealing the hidden and unseen. This process becomes archaeological and forensic, exploring the river as a place multilayered with loss, history, memory, power, labour, and ritual.
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