Room 2 of 3
Lateral thinking — one material leads to another, one problem rhymes with a different one, the connections that only appear mid-process.
Explores what happens when you print onto paper that has already been worked — painted, collaged, previously printed — and why the second layer behaves differently from the first.
Looks at the overlap between cutting and printing — specifically, how a cut into a matrix is both a mark-making and a subtraction act, and what that shared logic means for how you approach both.
Makes the case that collage is not assembly but editing — every piece placed is also every piece excluded — and that this is what makes it feel different in the hand from painting or cutting.
A personal account of how working in relief printing — carving away what you don't want — changed the way the writer approaches cut-paper work.
Traces how paper weight — gsm — changes the emotional experience of making, not just the technical outcome.
Identifies a specific recurring failure when inking a flat plate with a brayer — uneven pressure that shows up in the print rather than on the plate — and works through what causes it and what doesn't fix it (as well as what does).
Reflects on the difference between pigment-based and dye-based inks in terms of how they behave over time — without inventing archival data — and the question of how much you trust a material you cannot fully test.