Bio
Since graduating, (MFA, University of Sussex, West Dean College, 2016), her work has been presented in many public spaces, such as city billboards with flyingleaps, and as part of Gallery no.32’s Winter Sculpture Park 25 in Thamesmead. Her banners are in collections at West Dean College and the University of Saint Andrews.
1 - Could you explain your practice? Only you know why you do what you do.
I constantly ask myself : How can art highlight this issue? How can art challenge, prompt reimaginings? How can art create a space for quiet reflection and, hopefully, some critical questioning?
These intentions guide how I proceed:
Research widely to analyse, understand
Develop formats, imagery and text that are singular, fitting, questioning
Value the tradition of agitprop such as banners
Improvise with everyday materials and techniques
Make work for public spaces and a wider, non-traditional audience.
Having to improvise, learn new techniques, keep reinventing - slows me down, gives me time to reflect, engage with the issue. Finding a unique format encourages me to find other connections, add another connotation. Formats have included my version of a monument, a shrine, signal flags, a guard of ‘guardians’, as well as banners inspired by trade unions or traditional rug designs - reinventing and improvising again being key. Adapting for public spaces always requires more problem solving. Sites have included a disused golf centre in Thamesmead, an old orchard, an avenue of trees, city billboards and city walls, an arch under a London Bridge.
2 - Is art relevant today?
I would love to see everyone share in making or experiencing art in some form - as it is a precious space to reimagine, reinvent, tell a story, ask questions.
3 – We are always asked what other artists influence us, we want to know what art you don’t like and which influences you?
I have been influenced by the works of Thomas Hirschhorn, specifically: using the inspiration of writers and thinkers, making work in public spaces to engage local people, using everyday materials, and being present with the work and, hopefully, being part of the conversation.
I am interested in and take inspiration from all manner of art and crafts, from wherever, in fact- all aspects of positive human ingenuity. For example traditional repair techniques seen in West Dean College Conservation departments were improvised with at hand materials to attempt to repair of an item which I repeatedly broke. That time for reflection on repair in its widest sense led to developing a set of symbols to represent the universal human skills of repair, reimagining, rebuilding. I use these symbols within a context, to prompt the viewer to imagine for themselves what human skills or qualities are needed. For example in the monument, Decent Homes For All sited in Thamesmead, the gilded symbols on the ‘monoliths’ and on the banners ask what skills are needed to build community.
4- If you could go back 10-20 years what would you tell your younger self?
I spent most of my working life as a D&T Graphics teacher and it taught me that creative problem solving is our human superpower. Although I managed to complete a Foundation Diploma through a part time evening class, it wasn’t until I left teaching that I immersed myself in full time art education which was transformative.
So now I would tell my younger myself: be bolder, pursue your art education whilst still working - through any means available: develop projects, collaborate with others, explore new skills, see lots of art, and ideally - find part time or summer courses.
5 – If you could go forward 10-20 years what do you hope to have done or not done?
I hope to have continued to respond to the events around me, and to have collaborated with others to make art, as an opportunity for reflection, more commonplace in the public realm.