I work in a variety of mediums from large scale pencil drawings and comic books through to handstitched pieces, sculpture using found objects, and reductive collage with found record covers. 

The language within my practise comes from pop and music culture, gossip magazines, salacious stories in art history, graphic novels, books, films, common sayings, parts of overheard conversations, people’s secrets knowingly entrusted to me and my own wonky lived experience. I question human behaviour and contradictions through a not always steady feminist lens using pathos, irony and humour. I want to provoke and these approaches enable me to talk about uncomfortable subjects and play with social taboos.  

Starting with an idea for a drawing or sculpture I then work intuitively and juggle with the knowledge that the outcome is seldom clear which is both daunting and highly stimulating. 

I devise phrases that I repeatedly write by hand, like mantras, within the drawings. It isn’t important whether the text can be deciphered or not, as only glimpses of words become apparent in the accumulation of the whole.  I see distinct parallels between our often ritualistic repetitive daily activities and our own internal narrative loops. 

Working with album covers began after a sudden breakup. I had always been captivated by the women portrayed in pre-1980 record covers. In removing everything and everyone around them via reductive collage, their poses and gestures take on heightened meanings. After preparing the surface, I then add pencil drawings and/or text that speaks specifically to these figures, and a story evolves. 

I like the immediacy of working with a three-dimensional object, particularly found chairs. They strongly reference the domestic and the human form and force me to think about the object in relation to the space around it.

Acting as an observational participant, I want my works to behave as anecdotes or records of human events and frailties.