About The Work
Developing a vocabulary of tactile language and using material as a means of communication. This is the core of my work.
We have a universal experience of fibre in all aspects of our life and are able to form our own understanding of reality through textiles. It is a powerful source to create artwork from and this familiarity provides an understanding, accessible to all.
I am interested in delving into our bank of haptic knowledge to deliver a rich experience that moves beyond form and colour into textural integrity. I explore and experiment with a comprehensive variety of fibres and consider materials and processes carefully.
Material as metaphor. Process as metaphor.
Paring back the work to its basic structure doesn’t create a piece devoid of meaning. The development of the surface comes through a balance of material and process and these actions then direct the meaningful form.
I spent three years of intensive study at UCA Farnham, a university in the UK renowned for their teaching of disciplined fine craftsmanship. We sourced high quality yarn and cloth, dyed them by hand and wove and printed them repeatedly to hone our skills. We experienced first hand the behaviour of the fibres, how to handle them and came to understand the inherent qualities. I followed this with a Masters degree in textile art and began to realise the importance of listening to the material and how the final form of the work was preceded by the integration of the symbolism of material and process.
I have produced many pieces from found materials, developing whole series of works around the history, significance and state of these materials. When searching out something, I reflect upon the density, the flexibility, the consistency, the texture, and the opacity. I consider the permanence, the form, the colour and potential juxtapositions. Questioning as part of an inventive studio practice. Then I fall into the rhythm of the process. A batch of consequential actions or a continuation of repetitive motions creates a focused concentration.
Some theories of the musician John Cage inspire my work, along with the attitude and beliefs of the weaver Anni Albers. The bold forms of the sculptor Richard Deacon and the texturally varied pieces by Eva Hesse expand my association with cloth and the body, into using materials within a space. This is in conjunction with seeking out exhibitions of work by Japanese textile artists. I am intrigued by their rich cultural history and attention to craftsmanship that inform their symbolically rich, but often visually quiet works.
Quiet works, this is often what I find to be the most truthful to the material. My practice can be considered to use a limited colour palette but be full of textural symbolism.
My work as truth in materials.
Parity in process and a tangible metaphor.
If you are interested in my work and have any enquiries or ideas, contact me here: