I have now expanded my understanding of the transfer process and produce emulsion lifts (the removal of the photographic ink emulsion from the transparency film by sealing then soaking it in water). I also transfer directly onto Reemay, a nonwoven fabric, which produces an ultra-thin, translucent image. The wonderful thing about my new direction is the imperfection that is created. No two are ever alike. All of this has led me to discover the Japanese concept of wabi-sabi and how it relates to my work and my life. Wabi-sabi isn’t quite an aesthetic and it isn’t quite a philosophy. It’s somewhere between the two, a way of seeing, understanding and appreciating the value of imperfect objects. When married with the flaws present in the many different art papers such as Washi, Kozo, Lokta, Banana, Indian and silk my images take on a new direction as I balance the importance of the image with the papers in my composition.