
Light doesn't fall, it's what comes back.
Light is something we look at, as we look at ourselves. It arrives and finds us, and in that finding, makes us into us and others into them. But as it travels, we remain unfixed, undefined.
Light doesn't fall, it's what comes back. The colour of a surface is a fragile answer, its reply to being struck, and that reply carries a brief understanding of our footing. We meet the world after the fact. The self is perhaps not always what we intend. It is what the light reveals once it has passed through.
Here in a single sheet, a multitude of returns resting in thick handmade kozo washi, three hundred grammes, its naturally deckled edges left untrimmed. It reads as it has decided to stay.
Printed by the artist with Epson UltraChrome archival pigment inks on thick, handmade 300 gsm kozo (mulberry) washi, formed sheet by sheet using the slow-vat Tamezuki method. The sheet has visible thickness and a natural rigidity. It holds its shape when handled. Long kozo fibres add strength, and the matte surface holds remarkable depth without glare. Left untrimmed with a natural four-sided deckled edge, it reads as an object first, and a print second.
Please note that digital screens cannot perfectly replicate physical pigments; the print itself is the definitive reference for color and texture. Subtle variations in character are inherent.










