Neil Groom’s current project investigates borderlands—threshold spaces where artistic disciplines, temporalities, and identities intersect. His practice is grounded in a tactile engagement with traditional painting and printmaking materials, intricately layered with both obsolete and contemporary technologies. Groom moves fluidly between early computer-age media such as 1920s pianola paper, digital tools used to generate embroidery machine drawings, and the enduring physicality of the etching press. These diverse processes become conduits through which past and present converse.