I work in a context of an interest in time, memory and trauma, and sometimes how this is recorded and experienced within the body. I am somebody to whom materials are important as carriers of layers of association and for me they echo with an innate and resonating poetry that conjures a continuous flux of experiences across and through time.
I work with iron, textile, clay and salt for their properties; both mythical and literal, and factor in the transformative qualities of the processes they may be put through to manifest traces and echoes of time and enfold space. This happens within a sculptural practice that also explores tension, balance and stasis.
Though my work is rooted in materiality I enjoy, relish and experience the excitement of, in Simon O’Sullivan’s terms, the “spatial and temporal layering” that is uniquely possible in art.
As I look backwards it becomes a struggle to frame and enfold the past in the spaces of the present. My practice is an attempt to lightly hold an understanding or experience in place. Attributable meaning may fully come, through the act of creation, in retrospective contemplation. I am interested in the inaccessible, as memory recedes, as material degrades, as the body itself holds the ghosts of its living past.
My material is born from that internal bog land (that bears, embraces and embalms it’s secrets) of the buried and discarded, and from losing.
