Because I don’t currently have access to large-format printing on Naxos, the work…

Because I don’t currently have access to large-format printing on Naxos, the work has had to pivot and adapt to the conditions around me.

These pieces are being constructed from A4 office inkjet prints on A4 paper. Each sheet is individually assembled, mounted onto wood, and then sealed beneath layers of 2-pack resin. What began as a technical limitation has started to open up a different visual and material language altogether.

The seams remain visible. The grid is not hidden. The image fractures slightly through its own construction, carrying traces of process, labour, repetition, and assembly. The work sits somewhere between photograph, object, and surface.

There is something important to me in using ordinary materials in this way. A4 paper, adhesive, resin. Nothing precious at the beginning. Yet through accumulation and transformation the image gains weight, density, and presence.

The limitations of the residency environment have become part of the methodology itself. No large printers. No fabrication workshop. Just whatever can be built slowly by hand inside the studio.

In some ways, the work feels closer to sediment or skin than a conventional photographic print. The surface holds the memory of its own making.