Printmaking University of Southern Queensland, 2025

My printmaking journey brought together three key processes — silk screening, lino printing, and metal etching — each offering its own way of expressing emotion, memory, and personal transformation. Through experimentation with colour, contrast, stencilling, carving, and layered imagery, I found that printmaking became not just a technique, but a space of emotional release and quiet renewal.
My final resolved works, “Towards the Light” and “Darkness No More,” represent two sides of my healing story. Towards the Light uses carved white figures walking into a bright centre, symbolising equality, reckoning, and the shared journey all humans take toward truth and understanding. Darkness No More layers a black silhouette over vivid fluorescent colour, expressing the moment when inner brightness pushes through old shadows and trauma no longer holds power over the present self.
Alongside these, I developed a framed series of botanical prints, and three screenprint experiments — a cat, lace over colour, and birds flying through pollution. Each piece reflects an aspect of my internal world: resilience, fragility, environmental overwhelm, memory, and movement toward freedom. The act of carving, rolling ink, pressing, layering and wiping the plate became a form of grounding.

Printmaking offered me the quiet, uninterrupted time I needed to process long-held trauma. Through the repetitive motions and tactile engagement of the medium, I found I could transform difficult emotions into visual form. The making itself became a ritual — a way to release, reclaim, and create new meaning from the shadows of the past. These works mark significant positive outcomes in my healing journey, showing how art can become both a voice and a sanctuary.