I create minimalist Gyotaku prints from the fish I catch in Caribbean waters, giving each creature a second life as a tribute to the beauty and generosity of the sea.
Born and based in the Caribbean, I have always lived in close relationship with the ocean. Surfing, fishing, and diving shaped my eye, my sensibility, and my understanding of the natural world. The sea is not only my environment — it is the source of my artistic language.
I practice Gyotaku, an ancestral Japanese printing technique once used by fishermen to record their catch. Today, I reinterpret this tradition through a contemporary lens. Every fish I print has been caught by me, respectfully and intentionally. The process is ritualistic: preparing the fish, inking it, capturing its imprint, and later consuming it. Each work becomes a second life, a quiet tribute to the beauty and generosity of the ocean.
ink the fish
Once dried, the fish is positioned on a flat surface, with its fins extended if possible. Sumi ink or acrylic paint diluted with water is applied to the entire surface of the fish, taking care not to paint the eye. Certain areas that are too inked and too dense are blurred using a stamp.
taking the impression
The tricky part starts here, you have to cover the fish using a sheet of Washi paper or a sufficiently thin canvas. The idea is to cover it completely and vary the pressure when rubbing to reproduce the shape of the fish on the support.
adding details
Traditionally only the eye is subsequently painted using a brush. For my part, I like to bring more details and contrast to the subject, which is why I allow myself more in-depth retouching work.
to finish
The fish is rinsed in clean water then cleaned. The fillets are lifted and ready to be eaten. Thanks to the use of organic and water-soluble ink, its consumption is safe for the body.
My aesthetic is minimalist and refined. I work with organic inks and natural fabrics to maintain an honest connection with my materials. The monochrome palette reveals the pure essence of each creature — its texture, movement, and presence — without ornament or artifice.
Through these impressions, I aim to honor what is often overlooked: the dignity of marine species, the fragility of our ecosystems, and the profound balance that connects us to the sea. My work exists at the intersection of tradition and contemporary expression, inviting viewers into a space of contemplation and respect.
Each piece is an homage.
A meeting.
A memory offered by the sea.
