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Derived from an image found in a Bulgaria photo album, the images effected me. Working from light to dark, painting each tonal layer and repeatedly dipping the plate in acid (the acid etches the area around the marks made by bitumen) is 'communication in the blind,' with nothing visible until the plate is submerged in white spirit and the varnish lifts. This manual process of concealment, erosion and revelation is viscerally evocative of the way we encounter the world of images, particularly our self-image: we construct follies of ourselves from which we can simultaneously hide and interact with the world.
Somerset handmade paper, steel plate etching