My work centres on conversations. Every day I navigate a new culture and language as an immigrant. I am a New Zealander living in Portugal where my husband is from and my children were born.

I printed these pieces at Coimbra's historic typography workshop Tipografia Damasceno on an 1872 Albion Press, engaging in a conversation between contemporary ideas and printmaking traditions. For me, relief printing is a middle ground between sculpture and drawing—a process that involves both precision and an element of surprise.

In this current series, I explore the intersections between the natural and man-made worlds. I am drawn to the symbolism of plants, their resilience and ability to thrive across borders, and how they communicate in ways that transcend spoken language. I also admire the intricate and decorative details in Portuguese architecture, which are strikingly different to those seen in the functional, unadorned cityscapes I grew up in. Through studies of these and the plants I notice, I translate my observations into a visual language that helps me establish a sense of place.

Mary Whalley (b. 1986, New Zealand) is a Coimbra-based artist and educator. She earned a Bachelor of Fine Arts from Whitecliffe College of Arts in 2008 and spent the early part of her career in New Zealand creating public art and sculpture. After moving to London, she worked as an art teacher for several years, working on projects with galleries such as the Royal Academy and Tate Modern, and received awards for her work in art education.

Since moving to Portugal in 2020 and having children, Whalley's focus has shifted to printmaking, working mostly with linocuts. Her pieces have been exhibited in the United Kingdom and Portugal. In 2025, her prints were featured in a solo exhibition along with a book documenting her ongoing project paying homage to Portuguese azulejos through block prints.