At the core of my practice is a curiosity about how we make sense of things, through the interplay between the conscious and subconscious, the rational and the felt. I’m drawn to thresholds and half-seen moments, where something flickers into view but resists being fully held.


I am a mixed media artist working experimentally with handmade paper, plant pulp, soft pastels, language, performance, and the human condition. My practice explores agency, material encounter, and how meaning surfaces through touch, sensed and felt in the body before the mind understands it. I ask: Where does agency reside?
 


Working in dialogue with materials, which may resist, collapse, or quietly respond, the work often speaks most clearly when I yield, allowing fragments to settle into meaning. 



To Monastery is a body of work that began during a time of illness and loss. A line from Dickinson, “She dances like a bomb abroad”, stayed with me during this time. It fuses joy and destruction, echoing the clarity that often follows rupture. That energy informed my imagining of ‘to monastery’, an invented verb, part grammar, part dream, gesturing towards solitude, ritual, and imaginative space. 
 


A bed, a labyrinth, and fragments of text invite the viewer to pause, to imagine how they too might ‘monastery,’ listening deeply as if to touch what lies just beyond the knowable.
 


The idea of “unearthed grammars” runs through my practice, language that is borrowed, embodied, broken, or veiled. Having returned to the UK after 30 years abroad, I’m drawn to the overlooked textures of place. The plants, pavements, soils, and found materials I use carry layered, entangled stories, prompting me to ask not just what meaning is, but where and how it emerges.