In my practice, textiles develop through a combination of processes and techniques, both traditional and modern. I have spent many years exploring the application of natural dyestuffs - indigo and minerals - but my approach is never that of a purist. In contrast to the many accomplished master dyers who I have encountered in India, Japan and Central Europe, my approach is experimental rather than orthodox; ideas are the driving force.

Currently my work is employing screen printing to create composition as a foundation for indigo dyeing.

In contrast to Tina’s traditional printing blocks, my experiments with stretched and manipulated dough have been transposed into image, and captured as positive film for exposure onto screen. Discharge pastes are printed and activated in a steamer or with a steam iron, bleaching out the ground colour with different effects.

Here, a series of photographs tell the story of my work in the studio, moving between equipment and processes from the dark room to print tables, from the steamer to the sink. This work establishes a base for layering with indigo and other materials. It is a transitionary stage in my reimagining of supra.