I am a storyteller with a track record of convincing people of another reality.  I paint landscapes that I cannot reach and have never seen and  I make three dimensional work and drawings which discuss the unique value of things which are generally overlooked.  My work notices the presence of flora and fauna in those remnants of uncontrolled land in and around our cities and suburbs.

My intention is to make artwork that is layered in meaning but simple to understand, well made and memorable. I enjoy diverting materials from their usual function.  An etched copper plate which might normally be stored away in a drawer becomes a component in a piece of sculpture. An abandoned cable drum found on a building plot becomes the support for drawings of the natural objects (perhaps feathers or wild plants) which might be found nearby.

I often work in series, setting myself rules and boundaries.

My self portraits could be nobody else but me but  they might describe any of us.  

I have measured my body accurately in microsheppeys* and used these measurements to etch an abstract and meaningful pattern of marks. Using photography I have been recording a large and varied group of female people who together form a mesh of life connections which describes me uniquely.

Much of the inspiration for my work comes through walking.  I have recently been using a walking-sketch-machine, co-designed and made by Stephen Lunn. Using this machine I record sounds, the rhythm of footfall, recurring patterns and overall impressions of the walking experience.  These sketchwalks are providing a resource for my own work and for collaborative work planned with artist and Oxford Arts Development Agency colleague, Katie Hellon.  

*A sheppey is the minimum distance at which a sheep remains picturesque – roughly seven furlongs – Douglas Adams and John Lloyd, The Meaning of Liff.

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