Reflecting on 2025

January 14, 2026

An honest post.

I took 2025 off of paid work to focus on my creative direction. Having spent most of my life knowing I wanted to do something creative, I still didn't know what this would be and how I could make an income from this. Having so many interests and so many ideas I got lost in the tangle of them all and wasn't sure how to untie myself to give a clear vision of my creative voice. My Gran passed away in May of 2024, I can't believe we're coming up to 2 years of her passing. It is thanks to her that I am able to take time out from work to pursue my passion, for which I am incredibly grateful. Whilst I hoped that 2025 would give me direction, I didn't expect it to be so certain and for me to feel so confident in my creative voice as I do now.

My Gramps travelled for work a lot, he passed away in 1999 and his wife, my Gran, kept many items he was gifted or purchased on his travels. The items were barely (if ever) used - I inherited some Chinese (I believe) paintbrushes, having not done much water colour painting before, I picked them up to try. They changed my art dramatically - good quality brushes make so much difference in the enjoyment and quality of your lines. I didn't realise it at the time, but these brushes would open up a whole new way of working for me.

I kept the matchboxes they collected on their travels, with some especially nice ones from Japan. I realised later on that some of these would have been Japanese Woodblock prints - the level of detail in a tiny space is something to behold! I had also kept an ink pot with a red cinnabar paste inside, at the time of keeping I wasn't sure what it was used for. I had also kept a soap stone seal, with our family name in Chinese characters on. I was scrolling one day on Instagram and a photo with these items came up, it was an advertisement for a Seal carving workshop in Glasgow. I decided it was fate and signed up to learn more, I now have my own seal which I use on my COAs for certain pieces of work.

My Grandpa had many old chisels which need (still) lots of restoration. I have vinegar soaked them to get most of the rust off, but I fear it may redevelop as I have yet to sharpen and oil them all, as well as restoring some of the handles. I am very much looking forward to this project - it is daunting, but I will learn a lot and have some helpful tools in the end - some I can use for carving wood, and one in particular I am currently using for marking my Kento.

I made some Lantern style baubles for Christmas markets by using faulty prints - finally I have found a use for them! The lanterns upcycle my Grans old jewellery as well as some of her wool, I wonder if she knows how helpful she has been in my creative journey?

Japanese Woodblock printing has become everything I think about. It fills me with joy to see, to learn about and to create. All these small things in my life have fallen into place to lead me to it. I wish I had gotten there sooner as there is so much to learn -to "master"- but I am happy I found it non the less.

(image from The Met, Teisai Hokuba, c1820)

I have always written poems, and in ancient Japan (and modern), poetry is a part of life. In many of the old prints poetry would be included in the print - carving out the beautiful calligraphy into the wood and printing such fine lines is something I want to achieve. Having always wanted (and tried) to create artwork to go alongside my poetry, it's as if it was meant to be.

Creating a Japanese Woodblock print is a slow process, where you must learn patience and precision in the small details of the process. You can't rush, and you must always be present - something I had not been very good at. My attitude, way of thinking, mindset and muscle memory is all shifting thanks to the art of Mokuhanga. Because of the slower process of the print, sometimes I need a faster method to create all the ideas I have in my head, and this is where Risograph printing (another Japanese process!) will come into play. I already use it for my cards but I also want to create prints with it - allowing some designs to be larger and more detailed than I might be able to do in Mokuhanga printing.

What also makes me happy about the two methods of printing (Mokuhanga and Riso) is that they align with my ethos towards a low planetary impact. There have been times when I can't make art because I have been worried about all the waste I produce, whilst this still can concern me, I am in the safety of knowing that the inks, paper, tools and process' I use can all compost down -as I will (eventually)- into the soil. Perhaps the only thing which plagues my mind is that Japan is so far away from me here in Scotland, and so I would like to try to incorporate more "local" where I can.

In 2026 I hope to create more Mokuhanga work, as well as bodies of work. To start the poetry book assembly, to sell my work at more markets and shops, to create Riso prints and more cards and to start my teaching journey. I know that I will meet more people, learn a lot and create but who knows what that will look like and how much I may feel changed by the end of 2026!

Thank you for reading, and may we be in touch more this year :)

Back to blog