I like
  to slowly reveal
           the image...

The weight of the substrate. The subtle texture of ink on paper. The haptic nature of printmaking matches the haptic nature of my practice. Drawing and walking: feeling yourself in the world.

I'm interested in why we each feel the world the way we do: the roles of memory and (dis)place(ment). I begin with myself. I am currently working within the context of migrants from the southern European periphery to produce a print series based on experiences shared and stories told by the London Portuguese community.

Delicate, intimate prints for delicate, intimate stories.

I fear these stories will be lost. I want to create a conversations about their legacy for us 'second generationers'. Not a Hogarthian moralistic didacticism. Closer to the subjective approach of a Rego: a pinch of fantasy; a sprinkling of unease.

Individuals detached from their landscapes, adrift in a vacuum of identities.

I don't trust memories. Like Sebald's Austerlitz, haunted by ghosts I wander the city, photographing the new topographics. But are these ghosts of a past that never was? Perhaps photography is a tool for forgetting, rather than remembering. I use photography to interrogate memory, and printmaking to combine it with drawing.

I like the simplicity at the core of the relationship between viewer and print.

But I continue to play with the space in which my work is encountered to expand my understanding of how different circumstances alter / reinforce the themes in my work.