"The question I set myself was how to make the most straightforward prints out of what I habitually do, such as cutting, pressing and covering. Ordinary actions which in themselves feel already dense with implication. These prints were made deliberately to stand outside today’s context of overwhelming digital sophistication and technical possibility which holds little interest for me. Stravinsky called it “finding the cool place on the pillow”.

When the methods (a musician might say instrumentation) are so pared down, the lines, colours and shapes, reveal their mystery more freely. It is as if they become more compelling by not being interfered with. Colour then speaks to colour and shape to shape amongst themselves. It’s enough! It’s like looking instead for something foundational, timeless and lucid by attempting to uncover the etymology of a familiar word. Words and even the significance concealed within actions become tired and invisible by overuse. I have rediscovered them for myself - by barely trying.

A note on the title:

Firstly, this is what they are: ideas, notions followed lightly without much forethought but nevertheless coming to make an extensive work that happened to start in March.

Beware the Ides of March is the soothsayer’s message to Julius Caesar in Shakespeare’s play.

Clearly there is a contrast between the distinctly heavy element of doom-laden prophecy and the light touch of a group of unforeseen developing prints. I admit that may have a certain irony since, unlike the unfortunate Caesar, these did pleasurably surprise me."

Christopher Le Brun