Printmaking is a process of transformation — a delicate balance between presence and absence. It is a medium where form emerges from emptiness, creating a dialogue between what is revealed and what remains concealed. In printmaking, the negative space holds as much significance as the image, and the act of inversion becomes a poetic exploration of contrast, depth, and tension. Each piece invites the viewer to engage with the subtle interplay between light and shadow, presence and absence, in a way that is both dynamic and thought-provoking.
- Field Notes from Kapisillit
In Kapisillit, the land itself seemed to breathe—slow, vast, and alive. Sketchbooks remained closed; the real work was done through sensation. Ice breaking in the fjord, the pull of wind across stone, the hush between mountains—all of it entered the body before it could ever be rendered by hand. Later, these impressions returned as glyphs: stark fields of contrast where presence and absence negotiated their boundaries. Vectorizing the invisible was less about capturing a scene, and more about tracing the first vibrations of form—the memory of place before it becomes landscape. - Vector Encoding: The First Crystallization
In the Greenland project, vector abstraction was a way of listening differently—of hearing the land not through sound, but through contrast. The process distilled vast, felt impressions into glyph-like forms, maps of something more essential than landscape. Each silhouette emerged from a slow, intuitive reduction, where what remained was the pulse of place itself: energetic, archetypal, alive.