As a multi-disciplinary artist, I seek to portray an abstracted form of the human body, finding figurative likeness within fabric. Using textiles, photography, painting, and more recently, film, I address the objectification of the female body through ambiguity and delicacy.  Finding inspiration in historical statues, I reference their folds and undulations of both body and fabric in large-scale textile installations. 

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My recent work marks a shift away from painting as I favour a more dynamic, three-dimensional portrayal of the visceral human, finding this within the drapes of textile. Translating this movement into photography and moving image preserves the organic properties of our body’s permanent state of flux. I favour a hands-on process, finding this not only within textiles but through my digital creations. The physicality of my site-specific photography connects me to the work, my presence existing within the images before post-production manipulation. These digital tools act as a paintbrush once did, preserving human touch. 

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The significance of cloth within my practice resides in its constant proximity to the body and its relation to the domestic. The concept of the human body being our first home, in the sense of the womb, drives my work and retains a sense of the visceral. Ambiguity reveals our natural, internal selves as we examine human life through texture and tone. Working with a palette of pinks, creams and intertwining red stains, I portray the beautiful with the grotesque. With this uncanny duality and my faceless drapes, I push our preconceived ideas around the female form, allowing it to take up space. Textiles hold relevance not only materially but through its long-standing history of being perceived as ‘women’s work’. Bringing this into the 21st century on a heightened scale is a celebratory act of the work carried out by women. My use of delicacy paired with monumentality allows for the appreciation of the female form without objectification.​​