I work on mineral stone sheets using professional acrylics, watercolours and inks. All materials are archival and the pigments are lightfast. Occasionally, I utilize natural elements such as rice, salt or seeds where conceptually appropriate.

Due to the properties of the unique surface, the works are insensitive to high humidity levels and may be displayed unglazed for optimal viewing quality.

Mineral stone sheets are archival and composed primarily of calcium carbonate derived from limestone, blended with a small amount of resin.

The surface combines the luxurious tactile quality of mineral stone with the thinness and flexibility of paper. It has a smooth, velvety, eggshell-like texture while remaining pliable, tear-resistant and durable. Unlike traditional pulp-based paper, it does not buckle or warp when exposed to moisture.

When backlit, the material reveals a translucent quality reminiscent of stained glass, transforming the visual presence of the work.

In production, mineral stone sheets require significantly fewer natural resources than canvas or traditional paper and do not rely on deforestation, heavy water use or treatment with toxic chemicals.

Material is not neutral. Surface resistance, absorbency and texture directly influence gesture, rhythm and compositional development.

I utilise a large variety of very particular acrylics, watercolours and inks, each with distinct viscosities, pigment weights and interactive behaviours. Working with them requires detailed understanding of their individual physical characteristics and how they interact with water, each other and the mineral stone surface.

Technical knowledge enables precision while allowing the materials to evolve organically in the execution of my creative vision. In this way, the work continuously shifts between intention and discovery in a controlled manner.

Sustainability forms an integral part of my material choices.

Surface:
Mineral stone sheets offer significant sustainability advantages over both traditional paper and linen canvases. They are primarily made from renewable limestone - naturally replenished at more than twice the rate of global consumption - eliminating the need for deforestation and the heavy resource use linked to paper and canvas production, which requires around 2,700 litres of water per kilogram of cotton along with pesticides that degrade soil.

During manufacturing, mineral stone sheets use 84% less energy than paper (3 million vs. 19.3 million BTUs* per ton) and produce 67% fewer CO₂ emissions, with no need for chemical bleaching or wastewater treatment. They also bypass the energy‑intensive gesso priming and agricultural production steps that linen canvases require. If necessary, mineral stone sheets can be recycled through HDPE streams or safely photodegrade into non‑toxic minerals, avoiding the methane emissions associated with pulp-based paper in landfills and the non‑recyclable decay of traditional linen canvases.

Mediums:
I exclusively use professional acrylics, watercolours and inks that are archival-grade, water-based, and low/zero-VOC (volatile organic compounds that evaporate at room temperature). These paints emit far fewer volatile organic compounds than solvent-based and oil paints (which rely on petroleum-derived solvents like turpentine/mineral spirits), eliminating air pollution and health risks during studio use and long-term display.

Oil paints, in particular, demand energy-intensive petrochemical production and hazardous cleanup (toxic waste), while low/zero-VOC paints use plant/mineral-based binders, enabling water cleanup, recyclability and a low carbon footprint.

*BTUs - British Thermal Units