Built from six gel plate pulls using hand-carved stencils, this piece moves like memory—layered, partial, and never quite still. Each impression holds a trace of the last, creating a surface where shapes echo, overlap, and soften into one another. The palette—cool greens and blues against a hazy pink ground—suggests both growth and erosion, like something emerging while something else fades.
The process resists precision. Edges blur, textures interrupt, and repetition becomes variation. What begins as a controlled print shifts into something more intuitive—an accumulation of gestures that refuse to fully resolve. The stenciled forms feel familiar yet unplaceable, like symbols half-remembered.
This work sits in that in-between space: structured but unruly, deliberate but open. It’s less about a single image and more about what happens when marks are allowed to build, break, and return—again and again.
Built from six gel plate pulls using hand-carved stencils, this piece moves like memory—layered, partial, and never quite still. Each impression holds a trace of the last, creating a surface where shapes echo, overlap, and soften into one another. The palette—cool greens and blues against a hazy pink ground—suggests both growth and erosion, like something emerging while something else fades.
The process resists precision. Edges blur, textures interrupt, and repetition becomes variation. What begins as a controlled print shifts into something more intuitive—an accumulation of gestures that refuse to fully resolve. The stenciled forms feel familiar yet unplaceable, like symbols half-remembered.
This work sits in that in-between space: structured but unruly, deliberate but open. It’s less about a single image and more about what happens when marks are allowed to build, break, and return—again and again.