Inspiration?My surroundings in Antigua, where I’m lucky enough to make my work.
To get an edition of 60 cyanotypes made within a week working outside during hurricane season! Never again.
What type of lighting do you use? Natural or studio?
All of my cyanotypes are made using the strong UV light on the island of Antigua in the Caribbean.
Any accessories you can’t work without?
My secateurs, a heavy sheet of laminated glass and diverse fauna and flora. I go foraging very early for fresh leaves in particular, so that they maintain their shape and structure for that particular day. Bougainvillea, for example, wilt incredibly quickly in the heat once they have been cut, whereas large palm and banana leaves will hold their structure for a few days. My treasured sea fans however have become like old friends and never let me down.
Describe your creative process?
I do a sort of dress rehearsal with my plants, laying them on top of the paper and changing their positions whilst playing with layering plants underneath or on top. It gives me a fairly good idea as to what order they will be moved or removed once exposed to direct sunlight.
Who are you most inspired or influenced by?
My first real gut reaction to a body of works were Francisco Goya’s series of etchings, The Disasters of War. I fell in love with the etching process during my art foundation and these works blew me away. Since then, Louise Bourgeois, Judith Scott, Kiki Smith, Marcelle Hanselaar , Stephen Chambers and Tom Hammick’s spectacular woodcuts.
What is in your dream collection?
One of the original volumes of cyanotypes made by Anna Adkins.
What work are you most proud of?
My solo exhibition at the Department Store in Brixton. These huge cyanotypes were made over a difficult couple of years.