Birdsong colour

Pitch and colour of song ? How should I use colour within the woodcuts of the songs?… In a sense I need again to order or structure the colour – as every element is already being pulled apart within these songs in order to make them. It seems to me that the pitch of most of the birdsongs are all at a similar level so far..which in a sonogram is

Birdsong prints

birdsong and Syntax Having watched and done more research on the individual elements of birdsong I came across Noam Chomsky the American philosopher and linguist and a diagram comparing grammar in languages and birdsong . What was interesting was the attempt at analysing the recurrence of elements within the songs in the same way as human language is ordered and whether they were repeated into ‘sentences’ that were then used by

birdsong woodcuts

sonogram woodcuts. The transformation of what I was seeing on the computer and how to translate that in the studio ? I felt that the surface of these songs were somehow important, the time in these songs were intrinsic. So I have begun to make woodcuts of elements of them the idea being to be able to have a kind of Alphabet of birdsong that could be repeated and re

birdsong sonograms

Sonograms I began by trying to record birdsong in the filed visually with a note book. The composer Messiaen – catalogue d’oiseux uses a bird for each section. This i found interesting as he went out into nature and would also make notes then translate them back into music. A problem is that you parade the melody and that for me it sounded quite harsh in relation to real birdsong.


Birdsong For quite some time now I have been interested in using notions of invisibility in my work and that has lead me to use braille in pieces for about the last 4 years. In April 2019 I began recording birdsong – particularly Nightingales which migrate from Africa to this region of France. The first recoding I made was on April 14 2019. These recordings were simply made on my

woolwich print fair editions

Us and Them /etching white on black paper /Woolwich print fair 2019 edition of 25 £120 27cm x 20 cm Watching the Water etching on Zerkall white/ edition of 20 in Blue/ contact Woolwich print editions to purchase. These are a small edition made in 2019 with the title punched in braille through the image and fluorescent paper attached behind with rice glue. There may be slight variations in these

Using Rubbish

My recent efforts in the studio have been around using rubbish. Traces, footprint and re evaluation as a resource . I look on it as a kind of technical studio exercise to push what I have to its maximum … not always through the press but often the pressure of the press squeezes the material into something else. and it is this transformation that I’m interested in. So far i’ve

Tierras Aridas Edition

Tierras Áridas | Camberwell College of Arts, University of the Arts London from ediciondearte on Vimeo. Collective project at the University of Valencia : Camberwell College of Arts book Resistant Grounds Featuring Artists : Altea Grau Vidal Victoria Margarita Ahrens Jo Love Victoria Arney Sumi Perera

Difficult paths and dead ends

These are the latest Etchings . Originally from old postcards they have now become interconnected through the pathways across them – mirroring and turning into floating platforms impossible spaces through the landscape.  Ive just been reading Simon Schama’s landscape and memory and found Raffaele schiaminossi’s etchings of the sacred mountain of  St Francis of Assisi – with little flaps and frontispieces that open out …more ideas to work with. As

working and Walking out

Its been an intensive period in the studio these last few months and i wanted to somehow record some of the dead ends that I go down to make work. Ive been walking every day and trying to record some of the the thoughts of things that i notice on those walks – often they are small things I notice, seemingly insignificant and yet they feel important enough to record