My art practice incorporates sculpture, installation, painting and photography. Often situated between two and three dimensions, my work consists of post-minimalist sculptures which are painterly in nature, and process-based paintings.

I explore the relationship between people and the places they inhabit in response to my scientific background researching sustainability. My art can be read as a reaction against science, however, by embracing speculation, ambiguity and conflicted human drives.

I’m fascinated with the boundary between order and chaos. This leads me to seek out places which reveal risks or taboos, including abandoned industrial sites and ghost towns. The process of exploring these places alone as a woman can be dangerous. This highlights the gendered nature of certain geographies and bodily experience of space.

I apply a feminine sensitivity to my exploration of man-made terrains, in order to question dominant masculine ideologies. I combine domestic crafts and industrial techniques in my mixed-media installations of otherworldly ruined landscapes.

Symbolic materials and processes are used in my work. Experimental processes of transformation are used which introduce chance. This involves oxidisation, bleaching, melting and distortion. Industrial materials and safety equipment contribute to an undercurrent of risk. As a counterpoint, processes associated with mending and healing such as quilting, weaving and botanical studies are also applied.

Inspired by archival records and science fiction, I make connections across time to reimagine history and possible futures. My work is intended to challenge the myth of progress, and destabilise the idea that life is improved by economic development, science and technology.

Audiences are encouraged to contemplate the ecological catastrophe which may be an outcome of this trajectory. Seeking to reduce the spectacle of capitalism to artefacts and relics, I speculate about what our civilisation will leave behind.