My backstory

Originally trained and working in fashion design and production, I altered course to study drawing and painting at the Julian Ashton Art School, continuing my study at the College of Fine Arts, where I majored in painting while completing a Bachelor of Fine Art degree.

While studying for my master’s degree at Sydney College of the Arts my media of choice evolved to photography and textile work. However, I feel my work still suggests a painter’s sensibility in many ways and has influenced me in working with oils yet again after a long break. Recent textile pieces range from tight, abstract and amorphic shapes with linen, to more fluid, evocative manipulations. The photographic works possess a painterly, evasive quality – like catching sight of something but not quite seeing or understanding it (much like the process of remembering).

Artist statement

Conceptually, my current practice seeks to unpack memory – including its triggers, interpretations and the ways it is depicted visually. The mind and our interior lives are of significant interest to me artistically, and in particular, the dissonance that occurs during the process of recall. Revolving heavily around introspection, and influenced by nuances of memory and feeling, my practice is an expression of engagement between the felt and the seen. In a meditation on age, mortality and change, the essence of my work always reflects an appreciation of how changes in time are manifest in places and objects.

My recent practice uses old and evocative textiles as both subject (in photography) and object (as a medium to make work with) in serving the underlying themes of memory and place. Textiles are the substance connecting us to our very beginnings, offering flexibility and wide scope to produce contemporary artwork that can engage an audience with personal immersion. As the fundamental storehouses of history, textiles allow me to dip into the personal, private worlds of others; having their own history, culture and story, they provide endless inspiration for my work and practice.

Our exhausting, contemporary world is brimming with competing ideologies – the 24-hour news cycle, religious and political conflict, pressing human rights concerns—the perfect storm of our time. The cyber world’s unrelenting strides forward only combine to further sap personal time and distract from the rhythms of being human. It is against these anxiety-generating distractions that I work to bring about self-reflection, and the time to describe feelings and sensations with colour, texture, and non-figurative methods of visual enquiry; a creative antidote to modern life and the cyber-world.