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Suminagashi means “spilled 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. 

You can follow my work on Instagram


Ebru marbling

Marbling is a technique of aqueous surface design. This essentially means you can create a pattern by dropping paint onto a liquid surface. There are two main branches of the art form the Turksih Ebru and the Japaneses Suminagashi. Ebru patterns are swirly and colorful, while Sumihashi patterns most often display black concentric circles.

You have probably seen plenty of Ebru patterns without realizing it, as Ebru printed paper was the fashion in book binding up until the turn of the century. Ancient marblers developed techniques that allowed them to repeat an array of patterns. My work often looks a bit different than the traditional expressions. Not only have I adapted my use of materials to our contemporary context, my interest is also not in perfect repetition, but rather the techniques ability to capture moment. My curiosity is intrigued by what happens when you leave the marbling tray to itself. Maybe you made a 'classic' print and some paint residuales are left on the surface, could those randomly positioned pigments be salvaged and reveal a moment of beauty? Or how long does it take 'time' to randomly shape a beautiful pattern? Sometimes I even add fresh drops of paint onto a 'dirty' tray to see how the new and the old colors interacts.

However, when I work with textiles I like to translate the traditional marble patterns from bookbinding onto the soft floaty surfaces. I particularly enjoy seeing the classic feather pattern move along waving cotton or silk. It almost becomes alive! Most of my textile prints have been sitched into utilitarian objects such as pouches, pillow covers and scarfs. I sell a small selection of my work HERE.

You can follow my work on Instagram