shifting fields
Collection | 2025
Monotypes, carborundum, drypoint, and collage through chine-collée on paper
Varied sizes
The collection and its development are currently in progress

Expanding on the approach of color stories (2024), shifting fields expands on a larger scale through its compositional grids. This iteration introduces new elements: the color tests now originate from a partially cleaned carborundum plate, lending unexpected textures and traces of past work to the compositions. The surfaces reveal remnants of process—scratches, glue, and carborundum particles—imbuing the color studies with additional depth and complexity.

While the grid structure remains through a number of pieces, a secondary exploration has emerged from the process of creating these: the negative spaces left behind when the squares are cut out. These windowed papers, initially seen as scraps, now hold their own potential as independent compositions. Some are chine-colléed directly onto paper, while others are reconfigured with alternative cutouts, shifting the relationship between absence and presence. In this way, the collection extends beyond a study of color into a meditation on removal, selection, and the spaces left behind in the act of creation.

view and shop the full shifting fields collection (coming soon)

PROCESS & TECHNIQUES

The afterimages series explores the residual impact of color, perception, and memory through the repurposing of printed materials from byproducts of printmaking processes and layering techniques. The works in this series begin with monotype printing, where ink is applied to a surface and transferred onto paper, creating unique, non-reproducible prints. Unlike traditional monotypes, these prints are not created as final works but instead serve as color layering tests—functional remnants of other projects that take on a new life in this series.

The collected test prints are cut into small squares and recomposed into structured grid formations. Through chine-collée, a printmaking technique where paper is bonded to a heavier support paper using an adhesive activated during the printing process, these fragments are permanently affixed onto new surfaces. This method allows for delicate, lightweight elements to integrate seamlessly into the composition while maintaining the texture of the original monotype layers. The compositions highlight the interactions between colors and the emergence of secondary hues and tonal variations.

As the series evolves, additional techniques such as collage, reconfiguration, and negative space exploration emerge. Some works incorporate carborundum (a technique in which finely ground silicon carbide grit is adhered to a printing plate using an adhesive, creating areas of deep tone and rich texture when inked and printed) and drypoint (a printmaking technique where an image is scratched directly onto a plate using a sharp needle, produces soft, velvety lines and subtle tonal shifts) plate textures, introducing organic, unexpected elements that contrast with the controlled grid structures enhancing the series’ tactile and textural complexity. Other works within experiment with the remnants of the cutting process itself—paper with windowed cutouts, which are reimagined into new compositions, allowing absence and presence to coexist within the same work. The result is a collection that continuously shifts between structured order and the fluidity of chance.

MEDIUM & MATERIALS

• Paper: A variety of professional grade printmaking paper, chosen for their ability to hold ink layers and maintain longevity.

• Inks: Water-based monotype inks, selected for their transparency, layering capabilities, and subtle textural variations.

• Collage Elements: Cut monotype fragments repurposed from color test prints.

• Adhesives: Archival adhesives used to affix layered elements permanently.

SIZE

Works within this series vary in format, generally ranging from small-scale compositions to larger grid-based works. The dimensions of individual pieces evolve based on the method of recomposition.

EDITION & CERTIFICATION

This series currently consists of two collections, color stories (2024) and shifting fields (2025) each bearing a collection of one-of-a-kind works. Each piece is hand-signed on the back of the artwork and on the frame itself and comes with a signed certificate of authenticity including an image, detailing the title, materials, and date of creation.

FRAMING & MATTING

Each work is sold unframed, allowing collectors the flexibility to frame the piece according to their preferences. However, custom framing is available upon request. The frames and mats offered are sourced in Paris but are made in Bordeaux, ensuring high-quality craftsmanship and a natural aesthetic that complements the artwork.

• Framing is provided by a French framer based in Bordeaux, specializing in high-quality, locally crafted frames.

• Frames are made in French Oak Wood and include glass protection.

• Custom matting is also available upon request. Each mat extra thick and is professionally cut to order, adding an additional layer of refinement to the artwork.

• Please note that if a custom mat is ordered, an additional 7-10 business days should be considered for handling time before shipping.

For framing or matting requests, please fill out the form here.

ARCHIVAL QUALITY

The materials used in this series are carefully selected for their archival properties, ensuring the longevity of the artwork. Archival quality means that the inks, papers, and adhesives are acid-free, lightfast, and resistant to degradation over time. This ensures that the artwork retains its vibrancy and structure for generations to come with proper care.

• Inks are lightfast and fade-resistant, preserving the vibrancy of the pieces over time.

• Papers are acid-free, preventing yellowing and degradation.

• Collage elements and adhesives used are carefully selected to ensure long-term stability without compromising the integrity of the work.

ARTWORK CARE

To preserve the quality of the artwork:

• Keep the piece out of direct sunlight to prevent fading.

• If framing, use UV-protective glass to further safeguard pigments against environmental damage.

• Avoid excessive humidity to protect the paper from warping.

• Handle the artwork with clean, dry hands to prevent transferring oils to the paper surface.

SHIPPING

Each artwork is carefully wrapped and packaged in the studio to ensure safe transit. Shipping includes:

• Tracked shipping within two weeks of purchase.

• International shipping available; additional delivery times and customs fees may apply.

• For rushed orders, please contact in advance to arrange expedited shipping options.