Three plates of food

This project began as I became aware of the heat of the compost heap in the garden and an eventual real understanding of the beauty of the decomposition process. This microbe that kills disease but enables life, becomes for me an expression of grief: tears shed to halt the pain and to allow survival. A true metaphor of the minutiae of life’s remnants expressing deeply held emotion, attempting to convert anger and grief into cathartic release.


You Choose

In an attempt to create a scenario where the viewer chooses which narrative they wish to hear, inspired by the work of Candice Breitz and Pipilotti Rist, in order to point out how little choice we really have, how we are biased beyond our control and how our judgements precede our experience, I have created a multi-screen film, scripted collaboratively, where the viewer decides who to listen to.

Nicole Kidman.jpg


Extending my work with the female form in an effort to depict fertility or the lack of fertility resulted in an exploration into anthropomorphic rotten vegetables,
cast in pristine white and presented on golden plinths. Inspired by Kim Pace’s ‘A Fantastic Fermentation of Matter’ and Helen Chadwick’s ‘Carcass’ this is an attempt to expiate
the rotten in our lives and give the event importance,
an attempt undermined by the uncanny quirky nature of
the forms.

Marrow (2018)



With hesitation deviation and repetition

When asked to define, within five minutes, the context in which I work, I borrowed words from Just a Minute, William Kentridge, Brene Brown, Markham Nolan, Babette Rothschild, Kim Pace, Joan Jonas and Tacita Dean to place my work within the parameters of five words: connection, body, process, narrative, truth. The definition has become a work.



Little Bodies is a series of casts of a single clay sculpture.  Each cast is in a different material including jelly, chocolate, resins and bronze.  It re-evaluates my work with the female form and questions what is the proper use of the female form in fine art.  The project began with an exploration of distorted female forms in clay.  It has touched on Toril Moi’s philosophy of the Feminist, Female and Feminine and it has investigated the 'baggage' of materials. It comes with a playful soundtrack that accompanied a disco light-box plinth.  

Weaponized Woman (2018) Photo: Nick Manser

Weaponized Woman
Photo: Nick Manser



A homage to Martha Rosler and 'The Semiotics of the Kitchen'.  Photos taken (Each 3/4 photograph adds to a collage in the same 3/4 ratio, imitating Rosler’s aspect ratio) without set design or premeditated layout, of the kitchen one morning, subversion and double entendre in every view. 

The role of women and domesticity is changing and is having an impact on our ideas around feminism and defining gender in binary terms.  The house, designed to keep the woman inside, becomes a place of irony. To quote Kentridge: 'Lest their actions merit recognition, their deeds must not be recorded.'

Pop The Kettle On (2018)

Pop The Kettle On



The aim of this project was to somehow represent a broad interpretation of the experience of motherhood amongst X Generation women and to challenge invested sensitivities around fertility, value, self belief and sanity. 

Based on the same interviews with 28 women as used in an earlier film ‘About Creativity’ and inspired by the films of Sally Potter, Daria Martin, William Kentridge, Tacita Dean and Jennet Thomas, this four and a half minute docufictional film explores the lives of three women and their experience of fertility.  

A Catastrophe of Unspeakable Magnitude (2018)

A Catastrophe of Unspeakable Magnitude (2018)



‘Bodies’ is a series of 6 clay sculptures and body casts, creating a set of alter-egos: a docufictional representation of times when the body takes the brunt of life choices. A reflection a woman's experience of life and of the power of narrative, making and the pivotal role of creativity in forming identity. The body records the pain and joy of our lives and represents our experience. Using psychotherapy theory and the ideas of Babette Rothschild in understanding the psychophysiology of trauma and trauma treatment these works look at the experience of rape, still birth, loss and survival.

Still Birth (2017)

Still Birth (2017)



This 6 minute film, ‘About Creativity’, explores the importance of community, usefulness and beauty in a woman’s creative actions.   The film’s script is a collaborative effort amongst 28 women and is intended to be inspiring to other women who may watch it, exploring the idea of creating art that has social impact.

The film documents how creativity often allows self-discovery and a method of working through a difficult time or situation, how creativity gives pleasure and almost meditative peace to the doer, and how creativity is often a need, a requirement for fulfilment and a must for contentment.

About Creativity, a docufiction rather than a documentary, allows the creation of a beautiful, calm and intimate place where the idea that creativity is a vital act of being a woman is affirmed and that because of this, is a useful and tender social tool. In the original edit this film lasted 16 minutes. Read more about the making of the film here

About Creativity (2017)

About Creativity (2017)



Time is a study of hands and represents the idea of the perfect family.   The piece is a result of research into the concept of family during crisis, the expectation of support and love, the disbelief of loss and displacement.  

Time (2016)

Time (2016)



These photograms are so simple and yet manage to subvert this iconic image of the 'perfect women' that has infiltrated our society with such longevity and insidiousness. There is a need to take ownership of this image and, of course, distort it so that it came closer to the reality of a woman's life.  

Girl - Repeated Exposure (2016)

Girl - Repeated Exposure



In this fun but macabre project plays with the idea of women falling from a suspended clock face, along with each hour of the day, to break apart upon impact.  An exploration into the x-generation women who have been told since birth that they can ‘have it all’ and who discover that ‘all’ is extremely difficult to maintain.

Falling Hours (2015)

Falling Hours (2015)



Incarcerated started as a study in narcissism as a response to my own questions about art being a valuable and practical way to spend time. However has Louise Bourgeois said in 1984, ‘To be an artist is a guarantee to your fellow humans that the wear and tear of living will not let you become a murderer’.

Incarcerated (2015)

Incarcerated (2015)