Artist Statement

​I am a visual artist based in the North East of England. My work explores memory—both personal and collective—alongside themes of time, emotion, and place. Using a feminist lens, I navigate the invisible traces we leave behind and how they resonate through time, space, and the others.
Working across painting, drawing, installation, new media, and textiles, I use a multidisciplinary approach to bring internal states into physical form. My practice is rooted in abstraction—particularly geometric forms—but always led by instinct, emotion, and lived experience. Whether I’m working with pigment, light or video, I seek to create spaces where viewers can connect to the felt and remembered.
Much of my work has focused on geometric abstraction, often using hard-edged forms tempered by soft, layered textures. Paint is frequently applied by hand as well as by brush, and colour is mixed intuitively. These tactile surfaces embody memory and emotion—ritualised through repetition, slow processes, and the bodily act of making. What may initially appear structured and minimal reveals, on closer inspection, something tender, raw, and handmade.
Between 2023 and 2024, I worked in collaboration with artist Sara Cooper as joint artists-in-residence at Cresswell Pele Tower and Garden on the Northumberland coast. Embedded within this historic site, we engaged with its layered past through ongoing research, conversations with volunteers, and participatory activities with visiting groups.
In 2024, I expanded into moving image with Pink Slice, a vibrant, quirky short film created with Sunderland-based collaborators Liam Huitson and Sheryl Jenkins. The film is a tribute to Sunderland’s iconic pink slice pastry—a playful celebration of local culture, nostalgia, and community spirit. 
Earlier series such as The Colours That I Saw Today and the Ghost paintings exemplify my ongoing engagement with time, memory and transformation. The Ghost works, in particular, are layered with personal history—paintings lived with in full colour before being veiled in translucent white, leaving only a trace. These acts of covering and revealing echo the way memory functions—part presence, part disappearance.
Growing up across England, West Germany and Kuwait, and later working in education in Asia and Europe, I developed a fluid relationship to place, language and identity. This transience informs both the form and content of my work—shapes, colours and textures drawn from memory as much as direct observation.
Across disciplines, I am driven by a need to give form to what is fleeting or missed. My work invites viewers to slow down, look closely, and enter a space where emotion, memory, and material quietly converge.