About the Artworks
Each painting is an original.
I also recommend clients to read about my commitment to sustainability, to understand why focusing on environmental subjects is important and the details on my aim to use the most sustainable options of materials. The research for each subject and the constant investigation into ecological mediums takes a large portion of my practice, and is the focus of my work - to reconnect people to nature and contribute to environmental wellbeing.
My paper of choice is cotton paper - 100% acid-free cotton paper with 300 gsm (140 lb) - for sustainable reasons, most recent works are on 100% handmade, recycled cotton paper. Due to the paper fabrication process it has deckled edges, an uneven surface and a unique, beautiful, handcrafted rough texture and slightly irregular dimensions. Because of this, all dimensions are approximate.
I also use Hahnemuhle Bamboo paper (90% bamboo, 10% cotton) 265 gsm, which has a smoother texture.
I have previously used The Langton Prestige 300 gsm (140 lb), a traditional 100% cotton paper.
With this choice of materials, I do my best to ensure the longevity of each artwork as well as its impact on the planet.
Natural pigments have been used by humans since the beginning of art creation. We can still see ancient cave paintings from 44,000 years ago in Indonesia and France made by our ancestors - a testimony to their skill and to the longevity of these inks made from earth pigments - soil and rocks, mixed with other natural ingredients. Until the 19th century, sepia ink, extracted from the ink sac of cuttlefish, was common for most artists, such as Leonardo da Vinci, to draw and sketch. The advent of industrialisation brought the development of the chemical composition and distribution of synthetic pigments, which can be very hazardous to the environment. My choice to use natural pigments derives both from the superior quality of these pigments and because of my environmental concerns. The natural pigments I use are non-toxic, mainly from mineral sources; occasionally, from botanical sources, some of which I did myself. I chose my suppliers based on the quality of their products and their work ethics. Nonetheless, I will still use previously acquired synthetic pigments.
The colours of the artworks may vary from the way it appears on your screen.
I celebrate the small imperfections inherent to handmade work, and particularly with the recycled cotton paper, dimensions are always approximate.
Zostera Marina 1 (on the left) and a close up of Cymodocea Nodosa 5, both from the series Between the Sea and the Shore.