As my interest in visual sequence grew, I began to explore computer imaging – fascinated by colour on screen. I saw that it was a logical extension to the way I had been working. All the years of working with wax resist and dye had honed my improvisation skills. I saw that with computer imaging I could create endless variations on a theme. At first I worked on different papers, coated and uncoated; however, print on manufactured paper lacked any tactile quality, so I began, to work on handmade paper, then to make my own experimental layered surfaces on which to print. At first, this had varying results, possibly due to the absorbancy of the paper, and the difficulty of the early printers I used, to accept thick or textured paper.
Early books printed on to handmade paper include ;Rose transformation’, in 1998 and ‘Spectrum‘. Those printed on to collage, ‘Book of Dreams’, and ‘Light Shadows’. Problems began to be solved with ‘River Dream sequence’. I also turned the issue on its head by printing over collage with black ink, e.g. ‘Out of Darkness’ in which all colour is confined to the collage – embedded between the layers. Similarly, ‘Pandora’s Box‘ series. By 2005, I had largely solved the problems of colour, and designed a series of hung pieces, panels and books. The ideas I worked on in the books gradually changed and I began to explore the difference between inkjet printed colour, dye colour, and pigments.