Suminagashi means β€œspilled ink” in Japanese and differs from western marbling in two distinct ways. Firstly, traditionally suminagashi was not done on a thickened liquid surface. Secondly, the inks traditionally used in Suminagahsi are calligraphy inks made from pine soot, while the Ebru technique allows a range of materials such as gauche, water color and acrylics. While marbling shares similarities with other printing techniques, the concept of transferring paint from a surface to paper and fabric it also fundamentally differs as the surface, water, is in constant flux. It is impossible to fix the inks; they rather swirl and roll on the waves of the water. It is exactly the momentary pattern that captures my interest. My curiosity is intrigued by how natural elements such as water, wind and vibrations can create moments of beauty which can then be perpetuated by a piece of paper. 

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