The grid has been a recurring structure within the work since 2004. It is both constructed and encountered: a framework through which proportion, repetition, density and space can be investigated.

In print, the work begins in black: ink against white paper. Without colour, the structure has to work on its own. Only when the relationship between positive and negative space, rhythm, density and form is resolved may colour enter the process.

The grids are constructed through different forms of letterpress material. Quads and spacing material – normally used to create negative space between type – are raised to type height so that space itself becomes the printing surface. Historic matrices and cast lead ornaments are used alongside zinc and copper relief plates, including plates originating from digitally constructed images and returned to the physical process of letterpress printing.

Across works made at different times, these elements are arranged, repeated, reversed and reconfigured. The same structures are also encountered through observation: grids already present in architecture, surfaces and the everyday. The grid establishes order without determining what happens within it.

2004–present
Letterpress, photography
Various materials and dimensions