Drawing, print and artists books

Drawing, the purest of all art forms for me, serves as both a foundation and a starting point for further exploration through various tools and mark-making techniques. It is an intuitive and dynamic process that allows me to experiment, discover, and evolve my artistic language. Through drawing, I explore gesture, texture, and form, using it as a means of investigation and a bridge to other artistic disciplines.
My practice naturally extends into printmaking, where I have developed a strong connection to intaglio techniques, particularly copper and zinc etching, as well as collagraph. These methods allow me to experiment with depth, layering, and intricate details. Over time, I expanded my practice to include mokulito—a hybrid process that merges lithography and relief printing on a wooden matrix—offering a unique interplay between texture, grain, and surface.
In addition to printmaking, I have explored the structure of artist books, particularly non-sewing techniques, as a way to rethink the format of visual storytelling. The artist book becomes a tactile and interactive extension of my drawing and printmaking practice, allowing for a more immersive engagement with the work.
Beyond traditional printmaking, my interest lies in pushing the boundaries of drawing by incorporating experimental materials and methods. By integrating cut and folded paper, found objects, and other unconventional elements, I investigate how drawing can extend beyond the flat surface into spatial and sculptural compositions. This approach allows me to challenge conventional perceptions of drawing and printmaking, creating a dialogue between two-dimensional and three-dimensional forms. I am particularly interested in the relationship between materiality and mark-making, exploring how different surfaces and structures influence the final composition.