In 2016, I took a train trip through the Rocky Mountains in Vancouver. It was an impressive sight and a reminder of the geological processes and formations that have taken place over time. This experience correlated to my move to Seattle, when my sense of time and space felt distorted and confused, and I wanted to identify that feeling of impermanence.
I started designing abstract landscape prints by digitally manipulating photographs I took of the mountains. At the same time, I had been researching on the artist Richard Serra East/West art installation in the Qatari Desert. The aligned, tall and rigid steel plates in the middle of the desert reflected a way of locating oneself in the vast expanse of a shifting, monotonous landscape.
In this fall collection, black graphic panels cut across landscape prints and heather textures. A play of asymmetry and contrasting colors and textures.