Papers, pigments, and surfaces I work with…
Paper is not only a support, but an essential part of the artwork itself
The tonal quality of the paper is guided by the nature of each work.
I am drawn to the natural color of paper, to the way it allows its own tone to breathe, yet some ideas require a specific hue.
In these cases, I subtly adjust the paper’s tone so that it can respond more closely to the work itself. I primarily tone the paper using natural materials, most often forest fruits such as blackberries and other berries gathered from our garden.
I also work with inclusions within the paper itself — subtle elements that become part of its surface.
These may include flowers or other organic materials, which, in some cases, I use to gently influence the tonal quality of the paper.
In this way, the paper becomes more than just a support — it carries traces of what has been embedded within it.
The materials I use often carry traces of place and memory.
As an artist and paper conservator, paper has long been at the heart of my work.
I gather papers from different parts of the world, while also creating my own, with every sheet becoming a starting point for my practice.
Each sheet is carefully selected for a specific work, allowing its character to resonate with the image it will carry.
Each sheet is then prepared and gently transformed — I adjust its structure, surface, and, at times, its tone, so that it can fully receive the work.
I am drawn to the subtle qualities of paper — its softness, its quiet presence, its sound. I am deeply interested in its composition, and in the delicate relationship between paper and pigment.
I value and respect nature deeply, which is why I choose materials that do not burden the environment.
I work with water-based pigments and consciously avoid acrylics, whose improper disposal can introduce plastics into natural and water systems.
As seen in the images, some of my watercolor tones are prepared from plants and berries.
I also work with indigo, from which I create a deep, Maya blue pigment.
Most of my colors, however, originate from natural earths that I collect in the landscape.
The places where I discover these “color treasures” hold a quiet, personal meaning — often tied to a memory or a lived moment.
When used in my work, these earths carry more than color; they bring with them a subtle emotional depth and a sense of place.
