I began making following a life-threatening accident. My recovery was both an internal and external one, integrating the two to reach wholeness. I was introduced to the practice of meditation which continues to be a daily practice of internal observation and stillness.
“What is personal to me is also reflected in the wide culture;..the growing sense that contemporary female icons in art can now be accepted” (Sandy Brown).
The place of female art and female artists as been firmly planted by figures such as Sandy Brown and a global culture is emerging where gender and gender identity can be fluid. As a heterosexual woman I feel strongly that I occupy the ‘at work’ and ‘at home’ spaces simultaneously. There is a preoccupation in my work with the immanence of the feminine and the results, or lessons, of that experience. Each piece of work I make is a meditation on this emergent experience and an opportunity for further exploration.
Throwing on the Leach Wheel is a deeply physical and cadenced process, which works as a vehicle to express my relationship with the domestic realm. My figurative work emerges through a process of mindful touch and exploration, where the outcome is not known. I believe the ceramics that result to be embodiments of archetypes from my internal narrative, given reach through making.
Barbara Hepworth described herself as an “artist in society”, asserting the role of an artist within their community or wider art world.
As an educator and speaker it is possible to inspire and share the joy of working with clay. My drive to work in community participation projects and arts for health and wellbeing settings stems from a firm belief in clay and what it can do. Inviting people to experience the freedom and joy of making is very powerful and builds both individual and community wellbeing.
I have worked on a range of education projects, from small scale drop-in workshops, opportunities for “make and take” in clay, bespoke making workshops combining meditation and relaxation as well as large scale projects with organisations such as Clayground Collective, who invite the public to engage in activities which are “enjoyable, absorbing and meaningful and from which they can learn”.
About my material:
Community and public engagement often allows for clay to be given centre stage but I delight in finding new materials that work to meet the requirements of space that are essential in public settings.