In January 2017, I had the opportunity to participate in the 50×50 exhibition — a curated group show of limited-edition screen prints held at the Saatchi Gallery in London, in partnership with Jealous Gallery, one of the city's foremost print studios and publishers based in Shoreditch.
Screen printing has always felt like a discipline that sits at the intersection of discipline and accident — the careful mixing of ink, the registration of layers, the moment the squeegee pulls across the mesh. For this edition, each participating artist produced a silk-screen print at the distinctive 50×50 centimetre format, inviting viewers to consider how the medium shapes the image as much as the image shapes the medium.
Contributing two prints to the show was a milestone moment early in my London practice — a chance to engage with a community of artists and makers who take the physical act of making seriously. Jealous Gallery's commitment to accessible, collectible printmaking has long made it a vital force in London's contemporary art scene, and to show within the grand spaces of the Saatchi Gallery gave the work an unexpected monumentality.
The prints explored themes of pattern, memory, and the decorative traditions I carry between East and West.