Do you like collecting prints? If so, could you tell us a bit about your collection?
I do like to collect prints! The journey began with a simple piece of advice I was given: start with prints and eventually move on to originals. True to that path, I've acquired a few originals over the years, but my passion for collecting prints has never waned. My tastes have evolved significantly, influenced by various life changes—from relocating from an urban flat in Peckham to a rural farmhouse on the West Coast of Scotland, to the joys and considerations of family life. These experiences have gently shifted my aesthetic preferences, necessitating a more inclusive approach to selecting art, keeping in mind the shared spaces and sensibilities of my family. My latest acquisitions are the gold leaf Lino Lago’s and Cat Spilman’s which my family adores.
For me, the golden era of print collecting was 2010 - 2014. I used to work next to the White Cube in Bermondsey; I remember being able to nip in on my lunch break and fall in love with some of the editions they had readily available and make the purchase. Some of these editions now command tenfold price increases on the secondary market. I had to let a few go over the years, but the ones I still own hold a special place in my collection and personal history.
Do you have any advice for amateur artists and printmakers looking to make it in the art world?
Make your art unique; the best situation you can be in is where someone looks at your work and knows it’s unequivocally by you. That’s not easy, but it's a great way to get known and ultimately to lead to a successful career in art.
What’s the biggest lesson you have learned in the 10 or so years you have been making prints?
Once you find a technique of printing that works for you… perfect it. For me, this involved developing a close relationship with my printer, Harwood King. I look back at the first prints we were creating in 2015, and we’ve come a long way. The improvements have been small but incremental over the past 9 years we’ve been working together. About 5 years ago, we started using a UV hardened varnish that smells like marzipan. I never thought the smell of a print would matter, but it adds to the uniqueness of my editions.
Do you have any images that you would love to release as a print in the future?
I do, but I’m pretty cagey about sharing my plans for the future.
How do you think your previous work as a designer has influenced your work as an artist and printmaker?
Transitioning into art, my design background has made me a more practical artist, instilling a deep appreciation for the power of presentation. Design, at its heart, revolves around the effective communication of ideas, often requiring a balance between creative vision and the practical demands of business clients. This experience has been invaluable in guiding my artistic journey, teaching me to navigate the complexities of an evolving career. In my practice, I approach each piece as if it were a response to a self-imposed brief, similar to how a design project begins. My solo exhibitions are conceived as cohesive series, each exploring a distinct theme. The way these series are presented—through careful framing, hanging, and the overall setup—is critical, aiming to fully immerse viewers from the moment they step into the space. These principles, honed during my time in design, have become fundamental to the way I create and share my art.
After a landmark year in 2023, what are your aspirations and plans for your art in 2024?
I'm eager to see the ongoing development of my work. Presently, I'm juggling four projects, including my upcoming solo exhibition with Rhodes, set to open in May. It's clear that 2024 is on track to be just as bustling and eventful as the last year. My focus is on exploring new concepts and deepening the engagement with my audience. I'm excited about the opportunities and challenges that lie ahead, and I'm committed to making 2024 a year of significant artistic growth.
