Over the past two decades my work has been rooted in painting and drawing with nature and travel as source material. Recently my experiences of birth, carrying twins and becoming a mother have emphasised time, loss and vulnerability and the pursuit and importance of joy, love and the importance of curious and questioning within my practice. This has necessitated a need to broaden my creative vocabulary and methodology. I have learnt as a mother to adapt the way i work and my studio can be a domestic space, art studio or the landscape itself. My processes and materials also adapt to and are sourced directly from these places. I am inspired by the way my young children see and interact with the world freely. This playfulness and curious research, learning and most importantly physical and experimental making are at the heart of what i do.

I have learnt to accept that even when I say my work is about nature or landscape they actually act as a mirror, a deep expression of my innermost self, the universal human condition. This has always been the case, It's just taken a long while to realise it. I am drawn to the details in nature, to its energy, its contrasts, its comfort, it's discomfort. The layers and its complexity is not always pretty, it can be harsh and they way we use and abuse it remind me that we are one in this transience. This engages and excites me and keeps me wanting more; to understand and to explore the more metaphysical aspect. I'm interested in the more than human nature and how we build relationships (good & bad) and connect to it. It's fascinating that we create narratives and myth to build on this relationship within this complex evolving system.

I am most excited when exploring through creativity. This can take the form of research, a new experience or experiments with process and material. I'm in search of the space between certainty and mystery, to feel childlike awe in making my work. In an attempt to stay receptive and escape the limits of my own beliefs I delve into alien cultures and artefacts, ancient and contemporary. I am drawn to spiritual, ritualistic and sacrificial methods in making. The meditative, the repetitive, the slow and time consuming often act to ground me and as an antidote to the chaos I feel.

I am currently experimenting with making charcoal and carbonising complex forms in a biochar kiln. I love making inks and pigments from nature, lake, mineral and bone. I have made traditional gesso for over 20 years, obsessed with its chalky white surface like the egyptians were and icon painters are today. I make casein from milk, tempera from egg yolk, I use clay bole to gild. I make paper, ceramics and basketry. I use the detail and fragility of metal point, of charcoal frottage. I use my own blood and hair, beeswax and resins. I anoint with oils, I burn, pierce, tear and cut. I grind, sand and scrape. I weave, thread felt and mould. I forage, pickle, ferment and preserve all as a means to connect with something primal, to push myself and my materials to an edge, to essentially see what unfolds.