Making slowly.
From the garden outward.

I spent twenty years in the creative industry. Burnout changed that.

Not overnight, and not cleanly. But slowly, through drawing flowers in our garden, pulling prints by hand, and learning what it feels like to make something without a brief—I started finding my way back.

What I make, and why

Our garden started it. When burnout stripped away my ability to work, I started spending time outside, just looking at what was growing. Zinnias. Borage. Lace aloe. Moss verbena. Plants that didn't ask anything of me.

Drawing them became a way to slow down. Not to produce, not to perform, just to be present with something living. And slowly, that observation started to feel like a creative practice again.

From drawing, I moved into printmaking, pulling intaglio prints from Tetra Pak plates using a pasta machine. Then into collage, sourcing materials from op shops and building collections of paper, textures, fragments, and found materials that carried their own meaning.

Over time, these small rituals began connecting together: garden observation, sketchbooks, printmaking, collage, artist thoughts, and seasonal field notes.

The seasonal editions grew from that process.

Each collection is assembled slowly and released in small numbers — bringing together original prints, curated collage materials, fold-out journals, and tactile creative experiences designed to be explored over time.

I’m after five founding members

As a founding member, you will help shape the project's direction in its earliest stages.

Founding members will receive: lifetime reduced pricing, early access to seasonal releases and opportunities to provide feedback as the editions evolve.

Original Tetra Pak intaglio prints

Each print is pulled from a hand-scored Tetra Pak intaglio plate, recycled carton inked, and pressed through a pasta machine onto Khadi 320gsm Indian cotton rag.

The subject is botanical. Drawn first in my garden sketchbook, then slowly translated into the plate.

Once a plate begins to break down, it’s retired. Five prints per plate. That becomes the edition.

These prints aren’t digitally reproduced or replicated. Each pull carries slight variations in ink, pressure, texture, and impression.

The paper holds the physical pressure of the plate itself — something you can feel when you run your fingers across the surface.

Small editions. Made slowly.

Collage collections and Field Notes

Built from gathered paper fragments, found materials, print offcuts, textures, sketches, and botanical studies collected over time, assembled into tactile collections designed to be explored slowly and used over multiple collage sessions.

Each collection is intended to feel open-ended rather than instructional. A space to experiment, arrange, layer, cut, and notice.

Alongside the collage collection are personal artist thoughts, observation cards, small printed reflections with meaningful lines, thoughts, and seasonal observations gathered during that period of making, all housed in a mini fold-out journal called —Field Notes.

Quiet materials for slower making.

Sketchbook ritual

  • Tamarillo

  • Nolana Blue

  • Mountain Paw Paw

  • Moss Verbena

  • Ake Ake

  • Borage

  • Lace Aloe

Change up creative

go to channel

If you've ever burned out—or felt disconnected from your work, or yourself—this channel might be for you.

I share slow creative practices that helped me find my way back. Drawing. Printmaking. Garden sketchbooks. Rebuilding without rushing the outcome.

Less about perfection. More about attention.

Some videos follow the design process and creative thinking. Others are quieter — noticing small shifts through art, nature, and daily life. If you're navigating change, letting go of old identities, or trying to reconnect with your creativity in a more sustainable way, you're in the right place.

Recovery isn't rushed. It unfolds as you pay attention.