I started making monoprints as a way of responding quickly to changes and developments in a very turbulent world. I like to assemble images in ways which leave their connection in question. Once they are etched onto a photopolymer plate and inked up, I can develop their character and create relationships between them by painting onto the blank areas of the plate. Then I take a single impression in which the etched images and the painted layer combine. In this way I can make a series of alternative compositions from the same plate. If the print isn't resolved, I may overprint a further painted layer.

The landscape for my thoughts for this set of monoprints was provided by current media representations of the rise of nationalism, the demonisation of migrants crossing the English Channel and the spectre of war. I also happened to be making a study of Titian's painting of the Death of Achtaeon, in which the actions of the towering figure of Diana seem morally ambiguous. I made a matrix from scattered photographs of obsolete weaponry and derelict hardware and threw in a self-image. As I painted further on the etching plate, chaotic scenes emerged and the act of "putting myself in the picture" encouraged me to suggest possible narratives in which voyeurism alternated with heroism, and submission with agency.