‘As a printmaker, I respond to the medium with spontaneity, connecting to its material properties. Working intuitively and allowing the unique properties of the materials to dictate the progression of the work, the process of etching with its mysterious alchemy of metal, acid and time enchants me and emboldens me to further push the boundaries of my practice.’
Working from her studio in West London, Christina’s interest in printmaking is combined with her practice in drawing and her current project is an association of the two mediums with the addition of shadows created through emboss. Christina’s contemplative work offers the viewer a refreshing antidote to our fast moving digital world. Her work is concerned with space, rhythm, repetition, geometry and chance. Essentially abstract in nature, an underlying narrative can be discerned in certain pieces. Using soft, layered forms which seems to appear and disappear or sharper contrasting geometries, the circular form is omni present.
In her words, ‘The circle is the most democratic of forms, having no beginning or end, no sharp corners or dominant position’.
Traditional printmaking techniques, mostly copperplate or zinc etchings, are used to make small editions of original prints, each one an individual and unique work. The labour intensive processes and elements of chance are integral to the end result.
Christina’s work is exhibited nationally and internationally and held in public and private collections including the V&A museum and the NHS Glasgow and Clydeside Hospital Trust. She is represented by the Grafik i Vast Gallery in Sweden and Print Solo in the UK and has won awards for her work from Chrysalis Arts, Pushing Press and a-n the Artist’s Information Company. She recently undertook a month’s residency in Sweden at the invitation of Algarden Print Workshop and is a member of Printmaker’s Council, Manifestampe and the London Print Studio.
The three pieces presented for the Flourish award are ‘Troubled Waters’, ‘Ghostlines 2’ and ‘Lost in Low Cloud’.
‘Troubled Waters’, is one of a series of etchings made in commemoration of the 1916 Easter Uprising one hundred years ago. It refers to the North Sea, grey waters and this line from the legendary Foggy Dew.
‘Their lonely graves are by Suvla’s waves on the fringe of the great North Sea.’
‘Ghostlines 2’ and ‘Lost in Low Cloud’ are part of the ongoing Log Book series which developed from an interest in Christina’s father’s experience as a young pilot flying Typhoons as part of the second tactical airforce during the latter part of WW2. His Pilot’s Log book is a valuable insight into life as a pilot; the statistics of life expectancy and areas of operations. Christina’s practice is generally formal and abstract in nature, concerns such as space, repetition, geometry and chance are integral to the work. This recent development embraces the essence of time, people and place.