2024
Wood, charcoal, rubber, paint, wire, tin, platilon
A site responsive installation at Discover Bucks Museum, Aylesbury
2023.
Screen prints, pasted & torn
New Cross Railway Bridge
Deptford X Fringe festival 2023
2023.
Found tray, stained wood, unfired clay (spray painted)
2023.
Bin liner, fabric, crepe paper, spray paint & tape
2022. Screenprints, wood, paint, tape, fabric, rope, tinned tomatoes, chalk.
2022. Wood, paint & chalk.
2022 Wood, paint, charcoal, copper, clay & screen prints.
2022. Wood, paint, chalk, fabric, rubber.
2022. Wood, fabric, paint & tacks.
2022. Wood, paint, graphite, fabric.
2022. Wood, wood stain, paint, rubber, charcoal, clay & copper.
2022. Wood, paint, chalk & fixings
‘Might’ was made in the studio from the leftovers created in the construction of another piece. I was sawing up pallets, trying to salvage the useful bits, and in the process was left with the rather clunky spines of the pallets. I ended up seeing them as a place to try out thoughts, painting and marking them in different ways. Eventually I decided to fix them together. Painted splinters were placed inside the internal cavities of the sculpture.
2021. Wire, unfired clay, spray paint, canvas, paint, pencil & crayon
This piece was created as a way of exploring the relationship between objects.
There are a collection of ‘songsheets’- drawings on canvas- some of which are piled up on the floor and one of which is attached to the wall. A pile of wire and clay, spray painted sits in front of this.
I am interested in what the objects are offering each other, what the conversation between the pieces is, whether a language between them might be heard, if only we could tune in.
2018. Plaster.
This piece marks the six pregnancies I have experienced. Two have resulted in my children but all six have left their mark. The title ‘brace’ refers to ideas of support, stabilizing, securing, strengthening and preparing.
2010. Wood, paint, nuts and bolts.
Created for a sculpture trail in Oxfordshire, ‘Salve' takes direct inspiration from the network of arteries in both a human body and that of another living organism, the tree. Affected by the movement of the tree and connecting at just one point on the branch of the tree, the sculpture speaks of support, but support of a fragile nature.
2019. Plaster & painted canvas
The relationship between the plaster and the canvas is one of support and reliance. The two materials are interdependent to create the standing sculpture. The plaster arches pierce the canvas and are balanced with each other as the canvas provides the structure. The title gives way to many possibilities- as if by chance, as if by magic, and ‘as if’ an improbable occurence. ‘As if’ is a portrait of my two children.
2018. Plaster, packing blankets, black fabric, black thread.
A sculpture that takes the elements of plaster and fabric and attempts to find a structure that can hold its own weight. Just as there are endless possibilities of hold and collapse, there are endless possibilities of positioning. Due to the incongruity between the weight of the plaster and the integral strength of the fabric structure, there is an inevitably that the sculpture will constantly be on the verge of collapse.
‘Ever tried. Ever failed. No matter. Try again. Fail again. Fail better’ Samuel Beckett
2013. Grey fabric, grey cotton thread.
A large grey piece of soft grey fabric that has small areas that have been torn away and darned, this is both a sculptural and performative piece. Made as a way of describing my emotional response to a situation as an all encompassing state. This piece has been used in a performative way and hung as a sculptural piece, in group show “Life, Death, Whatever” at Sutton House. The title plays with the word ‘tears’ which can be read as being both a human physical response to a situation or as a description of a material that is torn apart.
2019. Burnished unfired clay, found ceramic splinter
2009. Mixed materials.
As the inaugural artist in residency at the Kings Cross Regeneration site, I was taking direct inspiration from the building site and the building materials that were around me, integrating them into my practise. Interested in the drama of the site, and its shifting nature, works were made as a response to this. A solo show ‘SHIFT’ was held in the German Gymnasium to mark the culmination of the 6 month residency.
2007. Concrete, polystyrene, video tape, paint, paper, graphite.
A curatorial project that I co-ran with Lisa Peachey, ‘Phase Space’, invited 8 artists to explore the notion of process. As one of the participating artists I used a set of materials- paper, graphite, cement, polystyrene, recycled video tape- to create works that were made and remade, resulting in works appearing and existing for only a short period of time. The title ‘is this it?’ refers to the sculptural work in the first image of this series and is the question that this is proposed to the artist by the work.
2012. Rope, tape, metal wall rings.
Made in response to personal grief, this piece was installed in two separate locations; initially in an office environment in the UK, and later in a group show in New York. The installation is a response to the very physical reaction that the trauma of grief can bring- one of utter instability and vertigo.
2007. Mixed materials.
As part of a three week residency at Fort Worden, Seattle, work was made in and around the obsolete military defences. Working with themes of appearance and disappearance, sculptural works, text and drawings were produced. Referencing cartoon strip black holes, and again using powdered material (this time non light refracting refined coal) installations were set up in the historic gun batteries.
2012. Inflated platilon.
Taken from forms that exist in the subconscious and consistently reappear in the sculptural and drawing work. These sculptural works were placed in the exterior, as a way of examining their forms. Made from transparent, inflated platilon they are as ephemeral as a passing cloud, or a drop of dew.
2007, Powdered cement, plaster, paper, wood, medium format photos, drawings, photocopies, plastic.
An installation as a solo show at gallery, La Caja Blanca, Mallorca. This was an exploration of the image and object. Taking the desert landscape as a starting point, disassembling the image and material. powdered cement, mounted photographs and drawings/collage- made from the same images as the photographs. The title ‘paper, scissors, stone’ refers to the materials and methods used to make the work and the simple hand game that pits the three materials against each other.
2006. Plaster, cement.
As part of a long period of research into what drawing could be, I was working with cement and plaster pieces to create ‘drawing installations’. The plaster and cement marks were arranged and rearranged to create works that responded to the environment and architecture. The title ‘close play’ is both a reference to a definition of to draw, and refers also to the notion of the marks having found a resting point after a period of playful positioning and repositioning.
2000. Super 8 film
As part of a travel award I was living in Buenos Aires Argentina. The country was on the verge of financial collapse and this super 8 film with sound was made in response to what I saw as the fragile state of the city.
Stills taken from a super 8 film which
