Botanical inks

In 2022, after more than a decade of using printmaking as my primary artistic medium and
frequently working with harmful acids and solvents, I began considering more
environmentally friendly materials. This shift became even more important when I started
working in my garden studio, which lacked a dedicated waste disposal system.

Although I had a basic understanding of plants, I wanted to explore their properties to create
inks for drawing. I began by making oak gall ink, a historic medium used in the Magna Carta
and by Leonardo da Vinci. Following an ancient recipe, I boiled crushed oak galls, mixed the
liquid with iron water (iron soaked in vinegar), and added gum Arabic and clove oil. The
result—a rich, black, permanent ink—was a revelation. Sketchbook notes and samples helped
me refine my techniques, boosting my confidence to tackle larger projects.

After this initial success, I experimented with other natural materials, such as avocado stones,
walnut husks, foraged plants, and kitchen waste like red cabbage and beetroots. My research
drew from historical dye recipes and the experimental practices of contemporary artists like
Jason Logan, whose use resonated with me. These experiments resulted in a vibrant, organic
colour palette.

Making botanical inks appeals to my love for the outdoors and my fascination with scientific
processes. By using modifiers like vinegar and baking soda, I discovered how variables can
affect colour in unpredictable ways. Unlike mass-produced inks, these "living" colours
evolve over time, offering unique textures and depth. I often leave residue in my inks to
create reticulation effects, reminiscent of stone lithography.

In 2024, I received the Global Challenges Scholarship, which has allowed me to expand my
research by investigating materials that could be used to produce 3D work.