For over 5 decades I have inhabited and walked in coastal landscapes; a fluid geography, where edges shift, boundaries blend, experiences past and present fuse. My practice moves in a similar way between painting, drawing and printmaking. 

From the Edge of Blue draws from integrity of such experiences, but also shares a relationship within the process of creating the work. Printmaking asks for a paring down to a subject’s underlying structure. Making a series of intimate A5 sketchbook notations on site, and directly on a variety of plates I sought the rhythms of place. The scale and reserve of the paper as an open surface is pivotal to the work, opening ambiguous readings of space, fusing boundaries between traditional landscape readings and an eastern sensibility.  

Through a transfer of drawing methodologies and the application of free form blocks I dissolved the margins between practices; extending my printmaking to a scale aligned with my painting. Both the block and the paper became a filter through which light, space and mark, hover and suspend. This approach allowed the mark to possess a psychological gravity; reflecting nature’s intensity, pause and fractured moments.  

From the Edge of Blue renegotiates landscape as cartography, echoing the felt vibrations of my journey immersed in this atmospheric landscape.