I choose printmaking and printed art because I find in them a way of thinking and building work that is deeply tied to how I understand artistic and symbolic practice. I am interested in the link between the body, the material, the tool and the mark: working on a surface, intervening in it, applying pressure and then revealing an image through printing. That process involves time, insistence, transformation and also a certain degree of uncertainty.

Printmaking lets me work with the idea that an image never appears immediately: it is built through layers, decisions, accidents, subtractions and repetitions. The matrix keeps the marks of the making, and the print works as a record of that process. That is why, for me, printed art is not simply a means of reproducing an image, but a language that brings material, time and action into the meaning of the work.

I live with this language because I need the work to keep something of that tension between control and transformation. I want the image to have a physical presence, so that the work of the hand and the tool can be perceived, and the technique is not an invisible procedure but a constituent part of what I am saying.