Why I Chose Printmaking: A Journey from Radiography to Art

When people discover my work, they often notice two things: the recurring references to biology and anatomy, and the traditional printmaking techniques I use. What they don't always expect is that these two interests are closely connected.

Before becoming a full-time artist, I studied Medical Radiology and Radiotherapy and worked in radiography. I was fascinated by the combination of technology and anatomy, and by the possibility of making the invisible visible. Medical imaging offered a glimpse into the hidden systems of the human body—its structures, organs, and the subtle signs of disease. It taught me to observe carefully, to pay attention to small details, and to think about how complex ideas can be communicated through images.

Looking back, I realise that this way of seeing has never left me.

A Different Path

Creativity had always been part of my life. As a child I loved drawing, painting, and making things with my hands, although I never imagined becoming an artist. Art education wasn't something that seemed realistic where I grew up, so I followed a scientific path instead.

After graduating, I moved from the Netherlands to Norway with my partner. We weren't quite ready for what I often think of as a predictable "A4 life" and wanted to experience something different. Because I spoke very little Norwegian, I worked in a restaurant while learning the language. Soon afterwards, our three children were born, two of whom have additional needs, and I stayed home to care for them.

By the time my youngest child was ready for kindergarten, my radiography qualification was no longer valid after several years away from the profession. Returning would require further study, and suddenly I found myself at a crossroads.

It was my children who unknowingly gave me the courage to choose a different direction. Watching them taught me that we should never stop learning and that it is possible to become something new if we are willing to work for it. I also needed a profession that would allow me the flexibility to combine work with family life.

So, somewhat unexpectedly, I applied to Ytre Kunstfagskole in Ålesund. To my great surprise, I was accepted.

Discovering Printmaking

During my first year at art school, I chose a course in woodcut and etching.

I was captivated immediately.

Printmaking appealed to both sides of my personality. It combines careful planning with room for surprise. Every decision matters, yet the final image only reveals itself when the paper is lifted from the printing block or plate. Even after years of working with these techniques, that moment still feels magical.

I enjoy the structure of printmaking. Reduction linocut challenges me to think several steps ahead, almost like solving a large puzzle where every decision is irreversible. Woodcut allows me to build images through layers, colour gradients, and the natural character of the wood itself.

Later I discovered mezzotint, a technique that quickly became one of my favourites. Preparing a mezzotint plate is a slow and meditative process that demands patience and precision. Rather than drawing lines, the image gradually emerges from darkness as light is carefully burnished back into the plate. Its rich tonal range makes it an ideal medium for exploring atmosphere, anatomy, and the quiet relationships between light and shadow.

The Influence of Norway

Although I was born in the Netherlands, Norway has profoundly shaped my artistic practice.

Living in Sunnmøre, surrounded by mountains and fjords, I never tire of watching the landscape change. The weather, the light, and the seasons transform familiar places from one hour to the next. Even after many years, it still feels as though I live somewhere people travel to for their holidays.

Nature has always been part of my life. My grandmother and father both kept large vegetable and flower gardens, and as a teenager I worked for many years in a garden centre, where I learned about plants, cultivation, and seasonal cycles. Moving to Norway meant learning to grow in a completely different climate. Today our garden contains vegetables, herbs, fruit trees, berry bushes, and nut trees, and it continues to be one of my greatest sources of inspiration.

Connecting Biology and Landscape

One of the first bodies of work that truly brought these interests together became my ongoing series Circadian Rhythm.

The idea grew from something very personal. During the winter months, the sun never reaches our house because of the surrounding mountains. Around the same time, my children struggled with sleep, and I began reading about circadian rhythms and the importance of morning daylight in regulating hormones such as melatonin and cortisol.

What started as a practical search for answers gradually developed into an artistic investigation.

I became fascinated by how light influences the human body and how the same natural rhythms shape both people and landscapes. Today my work explores these hidden relationships—from hormones and anatomy to pollinators, edible plants, biodiversity, and food systems. Although the subjects may seem different, they all ask the same question:

How do the invisible systems of nature sustain life?

Why I Continue to Make Prints by Hand

In a world where images can be created instantly, I am drawn to processes that cannot be rushed.

Every woodcut, linocut, or mezzotint begins with carving, planning, and countless small decisions. The physical act of making becomes part of the artwork itself. Small variations in each impression are not imperfections but evidence of the human hand and the unique journey every print has taken from block or plate to paper.

I continue to explore traditional printmaking because it allows me to connect two lifelong interests: understanding the hidden structures that shape our world and transforming them into images that invite others to slow down, observe, and discover those connections for themselves.

Discover original woodcuts, reduction linocuts, and mezzotints inspired by biology, the Norwegian landscape, and the hidden systems that connect us to the natural world.