“I graduated from the Kent Institute of Art and Design, Canterbury, with a BA in Fine Art in 2003.
My Grandmother, who was a seamstress and upholsterer, taught me to sew and embroider when I have a child and I started using fabrics and stitch in my work during the second stage of my degree. For some of my work I use fabrics and threads inherited from my Grandmother.
My work has been exhibited in numerous group and solo exhibitions in the UK including: Stopjectify, Gallery Different, London, curated by Jess de Wahl; Hand Maid, Hoxton Arches, London, curated by Sweet’Art; 3045 Variations on Rubens’ Feast of Venus, Dream Space Gallery, London, curated by Inga Krymskaya; Skin Deep, The Stone Space, Leytonstone, London. In Europe including: In Absentia, part of Paratissima, Turin, Italy and EroticaMENTE, Milan, Italy. In the USA including Stitch Fetish 3 and 4, Hive Gallery, Los Angeles and Feminist Fiber Art, Boston.
There have been various features on my work in magazines including, Textiel Plus, Pom Pom, Huffington Post (online), Cosmopolitan (online), and books including Sometimes Beautiful, edited by Michael Beam, New York, and The State of Art: Sculpture and 3D, vol. 2, published by Barehill Publishing, UK.
I have always found human bodies intriguing. Even as a child I was fascinated bodies – by the fat, the thin, the dark, the fair, the spotty, the freckled, the old, the hairy. I like how bodies show their history – how particular occasions leave their mark on the body – stretch marks, scars, spots, how the body stores its fat reserves – the body as a documentary. I’m also interested in how people change their bodies by diet and exercise, or by more radical solutions such as fillers or surgery – the marks and changes made according to a conscious and planned decision – the body as a novel.
In using body imagery in my work I want to investigate how we see things and how we interpret what we see. Why do we see some bodies as beautiful, and others as ugly or disgusting? And at the same time I want to investigate how the media and methods I use might change how the content of the work is seen. Does using materials and techniques traditionally associated with prettiness and gentility change how the viewer responds to the content of the work?”