Mila Morton worked for many years with ink on Chinese rice paper, guided by her studies in Hong Kong. She developed a visual language defined by swooping curves and marks that drift across the surface like calligraphy and, in recent years, has turned to etching and aquatint. The reed motif draws on her childhood encounters with nature and her upbringing on the edge of the Eurasian steppe. Etching transforms this familiar form into sharp, dynamic marks. The reeds emerge like a distorted ancient language that multiplies into abstraction.