In my linocuts "Identity Erasure" series I & series II printed from soft vinyl, I explored the body, its posture, the direction of the gaze, and the delicate marks surrounding it. I blurred one print and layered it with another where the head sometimes had been removed or blurred. I layered and blurred female figures, sometimes removing the head to reflect the patriarchal erasure of identity and agency. Although interpreted as dark or disturbing, for me this collection speaks of deeper truths about women's experiences in a society that often devalues them.
I experimented with a range of papers, thick, textured 300gsm cotton and delicate, translucent rice paper, to explore how materiality affects tone, softness, and emotional resonance. Many of the prints feature chine-collé techniques, layering translucent rice paper over cotton paper. These layers often depict the female body overlaid with imprints of lace from the same dress used in my installation. The lace, long associated with femininity and sexuality, becomes both a literal and symbolic veil, covering the body while also revealing it through its delicate patterns.
The body is simultaneously obscured and marked by traces of social perception. On the cotton paper, the heavy texture enhances a soft, blurred impression of the body, reinforcing themes of memory, vulnerability, and disappearing identity. These visual effects emphasize the tension between visibility and erasure, sensuality and silence. My exploration of materiality in this series is inspired by Arte Povera, the Italian art movement of the 1960s and 1970s. I do not hide the layers of paper and accept the intermingled textures and errors resulting from the printing process and Chine Collé technique. I experiment with layers of colour, layers of paper, scratching, scraping and erasing with a knife, on wet and dry paper, and with cutouts.