Drawing is at the core of my art practice, and as such I am interested in exploring the boundaries of this discipline within current art thinking. Instinctively, my work starts small and concentrated but often moves into large format. Work that begins on the wall starts to colonize the floor space, shifting from 2D into relief, from collage into bricolage, static into moving image - interrogating the interface between drawing, sculpture and installation.
Since 2008, I have undertaken an extensive body of work that includes; The Obsessive Compulsive Drawings; The World of Wonder (10,000 Things Every Child Should Know); The Inverted Triangle of Objectivity; and Hortus Conclusus. Whilst thematically they would appear to stand alone, they are unified by a drive to explore the territories of the real and the imagined, and the known and the unknown.
My work references a diverse range of source material encompassing newspapers, periodicals, encyclopedias, botanical books, ’Good Housekeeping’ manuals, puzzle books, maps, diagrams, as well as pseudo psychology, neuroscientology and anthropological collections. Alternative meanings are sought by, for example, manipulating content and context, exploring possibilities of scale, placement and colour. Text, drawing, printmaking, collage, film and sound are utilized in a cross disciplinary approach. Found and utilitarian materials are used in conjunction with conventional media such as watercolour, ink, coloured pencils and graphite.
Central to the work are pairings and groupings of objects, which offer counterpoints to each other and question ideas of the perceived versus the known, truth versus illusion, authenticity versus facsimile, presence and absence, public space and private space. The work explores the interweaving and overlapping of art, science and society and contemplates contemporary understandings of memory and identity.
Informed by a feminine perspective, the work attempts to provide insight into the female experience and its complex relationship to the world. How memory can substitute for engagement with the present and how subjectivity can colour our understanding. Traditionally validated arenas of what constitutes ‘art’ - subject, media and methodology - are challenged and attention is directed to the space between fine art and popular culture, the academic versus the vernacular and notions of the priceless and the banal.