The way I see it, a printer is both an artist and an artisan.

Of all the techniques I know, etching and aquatint are the ones that appeal most to me today. They are closely related to drawing, but the unique working process can bring about surprising and unforeseen opportunities, and the result can be totally different from a sketch. The lines are fuller, and a print is more textural and tangible.

I begin the process with an idea or a sketch, which I transfer to a polished copper plate covered with etching ground. Using a sharp tool I engrave lines and then allow the acid to work.  During this process I add or remove etching ground to achieve different levels that  will give the impression of relief in the paper.  In some cases I use a soft ground and impress various materials into it. To create different shades I use aquatint, which results in a wider range of contrasts between black and white.  I cover the copper plate with rosin powder, which I then melt onto it. Small grains are formed, between which the acid works its way into the copper plate. The etching process has begun, and the deeper the acid goes,   the deeper the shade will be.

On other occasions I remove all the etching ground, cover the plate with aquatint and etch the copper completely black in order to bring out the image by polishing.

The result is dependent upon a process which is both time-consuming and disciplined, but which can reward one with unexpected opportunities. For example, an “accident” or “mishap”   can turn out to lead the way to new forms of expression. In other words, the resistance offered by the material can be both a challenge and a source of co-operation. There are many trial prints before the copper plate has reached its final stage, and for most prints I use two or three plates for different colours. It is exciting to experiment with different colours and types of paper in search of the ideal print.

The urns and hearts are the product of a two-year period. The urn and the heart are both ancient yet familiar motifs which in this context are metaphors for “time, life and transience”. The title of the series is “Choice – Chance – Change”, which I have endeavoured to express visually in my pictures.

I feel it is important that I print my pictures myself, because I enjoy   experimenting with different shades of colour, and because I cherish the excitement of every new print. Will it turn out well? Or will I discard it? Maybe use it for collage? The artisan often gets the upper hand, and therefore I only issue 10 to 20 prints, and certainly no more than 30.

As they are all printed in a slightly different colour or shade, every picture tells its own story.