Inspiration-
Demeter and Persephone are central figures in Greek mythology, representing the deep bond

between mother and daughter, the rhythms of nature, and the cycles of life, death, and rebirth.
Demeter, goddess of the harvest and fertility, brings abundance to the earth—until her daughter
Persephone is taken to the underworld by Hades. In her grief, Demeter lets the world grow
barren, giving rise to winter. When Persephone returns each spring, life blooms again.
This myth speaks to themes of motherhood, loss, renewal, and the autonomy of women.
Persephone is not just a captive queen—she becomes a powerful figure in her own right,
straddling two worlds. Together, Demeter and Persephone embody the fierce strength of
feminine connection, the nurturing force of nature, and the quiet power of transformation.

Technique-
Crowned in Wildflowers was created by constructing a hand-cut collage using female

photographic portraiture, photographs and hand drawn illustrations of flora, leaves and plants.
Including- poppies, narcissus, pomegranate blossom, lily, violet, cornflowers, chamomile, wheat,
olive, willow, aspen, myrtle and oak leaves,
After coating the handmade paper and watercolour sheets with light-sensitive chemistry, they
are left to dry in a dark room. The large scale negatives are then printed onto the paper by
exposure to daylight (UV rays).

The prints are then processed by thoroughly washing in water to remove any unexposed
solution. It can then be hung to dry, developing to full density Prussian blue after 24 hours. Once
dried the individual component parts are cut out and mounted onto the print to create a
multi-layered, 3-dimensional artwork.
All my paper is handmade using cotton rags, they are ripped, blended and then made into pulp, mixing in a
binder of gelatin before placing into a trough ready to be added to the paper moulds. Once the pulp is
sitting on the mesh of the mould, the water is drained, then the paper pulp sheet is laid onto pieces of felt
and weights are pressed to draw out the excess water and help bind the fibres. Once set the sheets are
hung to dry for a week or so until they are ready for use.
My unique portraits have a distinctive painterly characteristic made by embracing technological
advances in large-scale negative printing whilst staying true to the purest and earliest forms of
photographic techniques. I examine complex interactions between human experience, environment,
materials used, light and time combined with deconstructing and reconstructing images to create
intriguing, surrealistic stories.
I explore the boundless possibilities of image production in the age of modern printmaking with an
aim to reinvent, recycle, redefine, experiment, preserve and celebrate processes. Using a variety of
traditional photographic and alternative processes and cameraless techniques combined with
painting, illustration and collage within my current practice including photograms, chemigrams,
gum printing and experimenting with different substrates such as silk and ceramics. My process is
devoted to exploring my relationships to subject matter, materials, environment, in creating a
narrative, a record, a footprint. I’ve always been curious to discover and to better understand my
relationships with science, natural history and art.
By going beyond the blue, I am creating a majestic modern aesthetic to this antiquarian photographic
technique. Allowing each separate element to support the others, not one overpowering the other, adding
depth and uncovering the non perfect surface beauty below. Using naturally occurring chemicals, cotton
and precious metals combined with the sun's rays and water is one of the purest forms of photosensitive
image making that has stood the testament of time from its discovery in 1842.
Each piece is constructed from scratch, fabricating the paper or porcelain foundation, starting the life
cycle, building up the layers. I hand finish my pieces with precious and chemically treated metals to
enhance the textural quality of the surface, revealing hidden details and creating an evolving luminous
landscape.
I love to celebrate the naturally occurring materials I use, the way they were so exquisitely made, letting
their organic textures emanate, the undulations of the paper sheets and the hand deckled edges be seen.
Each piece of handmade paper is a work of art in itself, the recycled cotton rag pulp creates the base
structure upon which to let my pieces develop. I love watching the way the tones of the cyanotype
chemicals develop on the porous surfaces, the way they evolve during exposure to natural sunlight and
seeing the colour intensify when washing in water.

Natural forms and cycles feature heavily within my creating my collections of work.
The history of the Natural World, anatomy and Science Art has always fascinated me, everything
is related, connected, part of a chain, a cycle, an ever revolving and evolving changing, hence the
idea of using circles arose.
It is a marriage of natural phenomena and artist intent, a harmonisation of the natural and human
worlds. I became more aware of how I wished to use these experiments and research within my pieces
as a metaphor and a commemoration of mother nature and science's astounding power.
These ideas are reflected throughout my working methodology from the creation of the paper
(handmade from recycled cotton rags and circular moulds), within the construction of the images
themselves, (featuring circular motifs and objects from petri dishes to the moon), the process of
exposing using natural light and washing in moonlight, in all weather conditions throughout the
seasons, and the circular theme carries through to framing the finished pieces in hand made round
frames.
The repeating shapes and patterns represent life cycles, borne from human touch and made from
recycled materials, taking on new lives once coated with the light-sensitive solutions and exposed to
the elements. The process of capturing Mother Nature and creating artworks using her power is a
marriage of natural phenomena and artistic intent.
Paper
Handmade recycled cotton rag and Arches watercolour paper:
150- 320gsm / 100% Cotton Rag / Recycled / Acid Free / Medium Rough
Mount
We use float mounting for all of our framed cyanotypes. The artwork floats above a
snow-white, archival and acid free, to showcase the paper texture and deckled edging.
Framing
Framed artwork will arrive ready to hang with picture wire on the back. Each frame is
handmade by our London based design team.
Frame come with gallery spec, Artglass AR70 / 2mm anti-reflective/ 79% UV protected
glazing as standard.