My work has grown from an installation-based practice with the aim of bridging the gap between movement and stillness.

Through the conjunctive use of the additive and subtractive primary colours, I employ the Samoiloff Effect to turn my prints into short and repetitive stop-motion animated cycles. The colours of my prints stem from this technique, so when exposed to red, green and blue LED lights, the cyan, magenta and yellow prints ‘move’ as the colours change. The additive primary colours cancel out the subtractive primary colours, creating the stop-motion effect which I use to mimic natural movements, such as flowers in bloom.

This use of colour anchors my practice in print-making, as CMY(K) is the traditional signifier of all things print-related. This further relates to my practice since screen-printing is a physical, messy and time-consuming process, which my work imparts through its finer details such as smudges, bleeds and uneven textures. These aspects assert themselves in honour of the essence of manual labour and as another nod to a captured sense of movement.

My exploration of movement in stillness continues to manifest without the use of lighting or tinted film, instead embracing natural daylight and allowing spectators to view all the layers of a natural movement at once. This speeds up the otherwise gradual and slow process of a flower unfurling naturally, layering the past, present and future in a single image.