These five panels share a single material language: copper and bronze, patinated through controlled chemical process, set into encaustic and acrylic grids at 120 x 90cm. The patination isn't decorative—it's the work doing itself. Heat, acid, and time act on the metal, and the colour that results—verdigris, oxide red, the shifting purple of thin-film interference—arrives rather than gets applied. In this sense the panels borrow from an old idea of techne: not mastery over material, but a making that stays answerable to what the material does on its own.

The grid structures hold this instability in check without resolving it. Each panel is built from discrete fields—colour blocks, tile-like fragments, a recurring triangle—that never quite settle into hierarchy. Nothing sits at the centre by right; everything is juxtaposed, provisional, held together by proximity rather than by a governing form. That's deliberate. The grid is a structure for gathering elements, not organising them into a fixed order.

Titles across the series—Techne, Existentia, Imaginal Sightings—name the questions the work is asking without answering them outright: what it means for something to come into appearance, what persists in inherited material, what a made thing owes to the process that made it. The panels don't illustrate these questions. They enact them, one patina at a time.

The most saturated of the five: a deep viridian copper field, patinated to a mottled forest green, sits at the centre of a composition built from warm creams, reds, and a small green triangle set against red. Elemental colour—earth, fire, water register through patina and pigment rather than depiction—gathers into a single dense field, held in place by the surrounding grid.e your text here...

Gathering of the Elements

120cm. x 90 cm

Mythical Elements

120 cm. x 90 cm,

A grid of encaustic fields anchors a single band of hand-patinated copper, its verdigris surface interrupting the wax like an older material asserting itself through a newer one. Fine looped mark-making in the deep blue quadrants sits against smooth colour panels—texture and stillness held in the same frame. The copper doesn't illustrate myth; it behaves the way inherited material always does, surfacing on its own terms within a structure built to contain it.