Adopting a research approach to creating and questioning meaning, my art practice incorporates fieldwork, process-based experimentation, and archival records. This approach is an extension of my academic social science background researching cultural values and risk perceptions.

Photography, painting, sculpture and installation is used in my mixed-media and site-specific art to explore contested spaces and landscapes. Here temporary, obsolete, abandoned, derelict, liminal and infrastructural spaces are exposed as sites of conflict over values and power.  

I’m interested in notions of intrusion and transgression. This involves examining the act of going where one should not. As such, I focus on the corporeal body in relation to boundaries constraining behaviour.

Destructive and transformative processes such as oxidisation, bleaching, melting and distortion are used in my work in response to these spaces. These processes  introduce elements of chance and chaos, reflecting the onward march toward entropy.

For me these experiments not only complement the textures and forms found in the places I explore, but also represent a form of alchemy: mystical, philosophical and protoscientific. Although methods from the scientific paradigm are evident in my art practice, it can be read as a reaction against science.

My work embraces speculation, ambiguity and conflicted human drives, caught somewhere between sorcery and science fiction. I aim to create otherworldly landscapes and parallel spaces where the familiar, unquestioned and known can be reinterpreted. Connections are made across time to reimagine history and possible futures.

There is a focus on materiality, abstraction and minimalism in my work which is situated between two and three dimensions. Assemblages of found symbolic objects are presented alongside sculptures with attention directed to the surface, and paintings and prints which are textured and layered. Works are installed in relation to each other, providing an interplay between form and surface.

Examples of the ideas, formats and mediums I explore were featured in my last solo exhibition, Built to last at PSAS in April 2018. The exhibition investigated the pursuit of progress and how it has reshaped the land. So-called ‘woman’s work’ was used to explore man-made terrains.

Domestic crafts and sculptural features were presented in a mixed-media installation inspired by counterculture, archival records and science fiction. I reflected upon what motivates us to extract commodities from the earth, and nature in an era defined by its absence.

Industrial materials such as hi-vis safety equipment contributed to an undercurrent of danger. As a counterpoint, processes associated femininity such as quilting, weaving and botanical studies were applied for their mending and healing potential.

‘Built to last’ questioned the myth of progress, and was intended to destabilise the idea that life is improved by economic development, science and technology. Seeking to reduce the spectacle of capitalism to artefacts, the installation was designed to create distance between the audience and objects which signify modes of production and consumption.