Work can exist as both stand alone images or objects and wider installations, where conversations, connections and new narratives between works take place.
Central to my practice is a concern with the interconnectivity of external fragmented experience with that of a psychological terrain which is also fragmentary and in flux. There is no hierarchy between the fragments, objects, glimpses and events that inform my work. Starting with automatic drawings and paintings helps me capture what is essential in a site, be this a place, a text, dream or memory. These paintings and drawings then become secondary sites to be explored and expanded, or sometimes used as actual material to be manipulated. Gestures in paint can lead to new assemblages and vice versa, in this way an osmosis and feedback loop takes place between materials and processes.
There is a humour and enjoyment in making present the sometimes-darker themes which emerge in my work. Contrasts of light and shade counterbalanced with materials and vibrant colours suggest the double meanings and various narrative scenarios often within my work. What emerges from this experimental practice is often unapologetic work on the cusp of awkwardness and poignancy.
Alongside my work in education and social sector I am a practicing artist. From 2002 and 2008 I had a commercial art practice and I sold and exhibited my work regularly through galleries and art fairs in London, Brighton, Algarve in Portugal, Norfolk and Suffolk.
Since graduating from my Masters in 2017, I have worked on two international research projects at Newcastle University and a research project of my own. I was awarded a drawing residency at the Royal Drawing School and have been shortlisted for Bridget Riley Fellowship at the British School in Rome and The Jerwood Makers Prize. In 2022 I was awarded Develop Your Own Practice funding from Arts Council England.