My practice is based in painting and expands this field to incorporate sculpture and textiles. The gestures within the work reach towards a bodily rather than overtly figurative outcome; forming feminine entities that propose nuanced interpretation of female archetypes. The tropes of the  mother, maiden and lover play out as I engage in a process of making that preforms subconscious and unconscious experience as incentive for the work.

Painting embodies and gives tactility to experience and typically I complete a painting in one visit. This experiential process in which I enter and exit the work is in symbiosis with my use of time sensitive material processes. I convert powdered pigment to paint using traditional tempera  techniques, either distemper; pigment and rabbit skin glue or egg tempera; egg yolk and pigment. Pigment and colour testing is an important aspect of my studio process. I collect and process natural pigments from different regions and use these alongside chemically synthesised colours. I perceive an energetic tension between the two forces, if earth pigments ground us then perhaps chemical piments make us think of the stars, they each have their own magic. Sculpture works utilise hand building techniques; papier-mâché, plaster and fresco secco painting techniques. Painted spheres act as colour tests, they move across the studio floor and are energetic codes for future and past painting pallets. Textile works use a combination of hand sewn and machine stitch to build wall hanging tapestries. The template for the tapestries is found in the paintings, translating the quality of the highly pigmented surfaces to various textiles; velvet, felted fibre and woven cotton.