Grey wants her own art to surprise her. Whatever the intention behind her monoprints, once the work is created it ceases to be hers alone: it’s up to other people how they interpret it.
She doesn’t aim to produce something that looks exactly like she imagined it. The start of a print is the most controlled stage, choosing the objects she’ll use to create specific patterns and textures. After that, she aims to respond to how the ink and the paper interact, to what they produce.
Using newsprint because of its inexpensive nature she experiments with it, often working on multiple pieces at the same time.
Grey draws a lot, anywhere and anytime – on public transport, at work, whilst she’s waiting for someone. These drawings aren’t used in monoprints rather to get ideas from them.
Cecile Grey has always lived in cities and she is at home in urban environments. Tower blocks and skyscrapers attract her because of their verticality and because of the worlds that inhabit them, which often remain unseen from the outside.