Through the narrative threads of language, Ekphrasis considers an intimate relationship between site and practice. Navigating both the tracks and pathways of local parkland, and the contours of lines drawn on stone, the text dwells on the analogous acts of inscription in which these worlds converge. Moving between the woodland environment and the lithography studio these territories offer sites of speculation in which the transcriptions of language are born. Glimpsed in this process is an interplay between systems and substrates that simultaneously progress these unfolding lines, whilst resisting and constraining the routes they take. Spilling out from the overflow of these events is the excess of ornament.

Written alongside the making of a series of lithographs, closely observed are the places and events that shaped their materialisation. After twelve years the woodland I live next to has become embedded in my work, depicted in the hand coloured images is aging bark gathered from felled and rotting trees. Also visually hinted at are nineteenth century atlases and anatomical illustrations. The work more specifically references Ogham – a Celtic alphabet named after trees. What remains of this early script is preserved on stones and in manuscripts, no longer surviving are inscriptions carved into wood.