Copper is the most patient material I work with. You can lay it down in a single afternoon, but the colour the piece will finally settle on isn’t yours to decide — the room decides, the season decides, the salt in the air decides. For “Hiding in the Forest” the patina took three months to commit, and even now I think it’s still moving.
The first weeks are mostly waiting. Each morning the leaves on the surface look slightly different — a little more green, a little more amber — and the only honest response is to stop and look, then walk away. The patience is not a virtue; it’s a working method.
What I love about it is that no two prints of the same composition ever end up the same colour. The chemistry is too entangled with the days. So every piece is, in a small way, a portrait of the weather it was born into.
— Katherine
(Placeholder essay — to be replaced with the artist’s real letter.)
