In studying ceramics and taking sculpture through to a major discipline, I was honoured in being mentored by Jan van der Merwe, Ian Reedlinghuis, Renier Le Roux and Runette Kruger. Sculpture is a great part of my work as shaping environments, and working in three-dimensional formations creates interactions between interdisciplinary work. Artists build a strong connection and understanding of their materials as the creative process is a tactile study and application. There is a beautiful, wise old saying which states 'concept dictates media', which is considered. Sculpture enables my work to step into our physical space, create immersive experiences and truly instil an emotive response within the purpose of each.
The disciplines in which I practice interlink. There is magic in building up layers within an artwork and within bodies of work. In doing so, I rarely utilise one material as each holds unique properties, the ability to build up a relationship between these properties is to a wonderful tool which involves much experimentation and in-depth understanding of media in creating artwork that withstands time and is built with quality materials. A number of my prints are hand-painted or turned into three-dimensional works. I often embellish ceramic work with non-traditional materials. Usually, I create two-dimensional backdrops for my three-dimensional work; doing so allows for me to be able to shape environments and immerse the space with an experience and enable the works intent in leaving a lasting impression with the viewer.
My print practice is predominantly in hand-colouring and mono-printing - the most painterly style of printmaking. The process involves adding hand-painted layers to the plate before printing and in the latter, manipulation after printing. The process of printmaking allows for unique outcomes rich in textures. Varied editions of 10 works are created in my practice with 5 works created as unique pieces. In exploring less toxic media, a facet of my practice has developed in evolving originals digitally and in digital montage. Printmaking mark-making processes are a culmination of both spontaneous and controlled techniques. I have translated a number of these impressions digitally. Limited editions of Giclee archival work with low editions are created in select bodies of work.