ROOTLINES
ORGANIC ECHOS
These are my micro-lines pulsing like the inner rhythm of plants.
My ink mists echoing through every layer.
My patterns repeating like nature’s quiet signals.
It’s the moment when a stain speaks to a line,
the line to the mist,
and the mist back to the structure.
It is the echo of life...
Repeating itself across every medium I touch.
Concept
ROOTLINES is an evolving body of work exploring organic structures, layers, and rhythms found both in the natural world and within the inner, psychological landscape.
The project grows from three core notions that form the foundation of the artist’s practice:
ROOTS – structure, memory, grounding, the geology of emotion, everything that lies beneath;
FLOW – impulse, movement, process, energy, spontaneity, sensory current;
MIST – aura, subtlety, half-tone, fog, dream-state, ink diffusion.
These three concepts weave together physical techniques of printmaking and drawing with an introspective observation of nature.
Each work develops through layered growth: from ink stains and fluid washes, through veils of softened light, to precise lines and structures reminiscent of nerves, fibres, roots, or landscape formations.
The project is an open exploration of how body, emotion, and matter meet within a single organic movement.
Artist Statement
My work grows from an intimate dialogue with organic structures — the roots, fibres, rhythms and subtle movements that shape both the natural world and the inner emotional landscape. I am drawn to the places where matter meets memory, where a line behaves like a pulse, and where a stain becomes a trace of something felt rather than seen.
The ongoing series ROOTLINED reflects three essential forces within my practice.
Roots are the structures beneath the surface — the geology of emotion, the patterns that anchor and repeat.
Flow is the impulse: movement, process, spontaneity and the sensory current of making.
Mist is the atmosphere in-between: the soft edges, the dreamlike diffusion of ink, the moment before form becomes clear.
I work in layers — stains, washes, veils of white, carved marks, etched lines, drawn micro-patterns. Each layer is a negotiation between control and surrender, intention and accident. The resulting forms echo natural growth: branching, weaving, dispersing, gathering.
Through drawing, printmaking and mixed media, I explore what happens when the body’s rhythms, emotional residues and natural structures overlap. My practice is a process of tracing these intersections — not to define them, but to feel them.
In this sense, the work is less about representation and more about sensing, remembering, and letting the organic world speak in its own language.
'HABITAT' LINOCUT PRINT / 160x110 cm, editions of 30
'ROOTS' LINOCUT PRINT / 56x76 cm / editions of 50
>> REDUCTION LINO
Rootlines: Valley continues the exploration of organic networks that appear throughout my practice as metaphors for memory, direction, and inner movement. The composition merges a valley-like landscape with dynamic, nervous lines — as if beneath the surface of nature there were ancient pathways, internal maps, and invisible currents running through the ground.
Rootlines: Valley sits between landscape and abstraction.
It is a valley that seems alive beneath its surface — a place where lines bind together what is seen and what is remembered.
It is a valley that seems alive beneath its surface — a place where lines bind together what is seen and what is remembered.
The large-scale mixed media works form a central and physically immersive strand within the ongoing Rootlines project. Expanding beyond the intimacy of drawing and sketchbook-based exploration, these works allow the visual language of Rootlines to unfold across space, material, and layered processes.
Built through the accumulation of multiple techniques — including drawing, print-based layers, washes, stains, and gestural mark-making — each work develops slowly, responding to earlier decisions rather than following a predetermined composition. The surface becomes a site of negotiation, where control and chance coexist, and where the image is shaped through duration, repetition, and material resistance.
This series of small-scale mixed media works forms an integral part of the ongoing Rootlines project. Created as intimate, self-contained pieces, they operate at the intersection of drawing, printmaking, and material experimentation, allowing ideas to surface in a more immediate and exploratory way.
Each work combines multiple techniques — including drawing, mark-making, layered ink, and print-based processes — applied intuitively rather than according to a fixed sequence. The imagery evolves through accumulation and response: lines are added, interrupted, partially erased, or absorbed by the surface. Forms emerge slowly, shifting between root systems, internal anatomies, fragmented landscapes, and abstract structures.
Working with an everyday, non-precious tool allows the process to remain immediate and unfiltered. The pen becomes a tracing instrument rather than a drawing device — following rhythms, pressures, and pauses of the hand. Lines accumulate slowly, building dense, organic structures that oscillate between roots, branches, nerve systems, and internal landscapes.
The drawings move from heavy, almost sculptural masses to fragile, hair-like extensions, echoing natural growth patterns and underground networks. Cross-hatching, repetition, and directional lines replace traditional shading, creating depth through time and persistence rather than illusion.
The artist books function as intimate extensions of the Rootlines project, where drawing, printmaking, and process unfold sequentially rather than as single images. Each book is conceived as a tactile space for slow looking — preserving traces of making, material decisions, and moments of visual thought that resist compression into a single work.
>> LARGESCALE DRAWINGS
This large-scale drawing is part of the ongoing Rootlines project, which explores underground networks, organic systems of connection, and the slow intelligence of growth. Working at an expanded scale allows the drawing to move beyond observation and into physical engagement — the body follows the line, and the line records time, pressure, and repetition.
As part of the Rootlines project, screen printing has become a way of translating my own photographic material into an analogue, printmaking language. Rather than treating photography as a finished image, I approach it as raw data — something to be broken down, filtered, and physically reworked through ink, mesh, and paper. The screen print with the tree functions as a bridge between observation and process: a moment where the photographic source loses its digital clarity and is transformed into a tactile, imperfect, and material trace. This ongoing exploration reflects a broader search for non-digital ways of printing my images — methods that allow time, resistance, and the hand to remain visible, and that align photography with the slower, embodied logic of printmaking.
Photography functions in my practice as a form of sketching rather than documentation. I am drawn to black-and-white images where form overtakes description — especially to extreme twists, tensions, and entanglements of roots and branches. Stripped of colour, these structures become graphic, almost abstract, allowing the image to operate as a field of lines, rhythms, and pressures. Rather than aiming for photographic perfection, I use the camera to capture raw visual impulses — fragments of growth and distortion that later feed into drawing and printmaking as material for further transformation.