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

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 printing material. Quads and spacing material – normally used to create negative space between type – are raised to type height so that the space itself becomes the printing surface. Historic matrices and newly cast lead ornaments are also used, alongside zinc and copper relief plates. Some plates originate from digitally constructed images that are then etched and returned to the physical process of letterpress printing.

Across works made at different times, these elements are arranged, repeated, reversed and reconfigured. Older analogue material and newer digitally generated forms enter the same printing system. The grid establishes order without determining the outcome; within its structure, variation emerges through the act of making.

2004–present
Letterpress on paper
Metal type, ornaments, spacing material and relief plates
Various dimensions