Statement of Practice
A Collaborative Practice
Portraits, people, painting, audio, voice, and narrative underpin my practice. I explore the spaces women occupy, and the conditions that shape their experiences, with particular attention to how identity, labour, and lived experience intersect.
The foundation of my work is rooted in intersectional feminism and biographical experience, drawing from both research and lived encounters. The women I represent are active, vocal, and physically present, with space held for their narratives. Through painting and audio, I explore subjective embodiment, positioning each figure as an individual with agency rather than an object of observation.
More recently, my work has begun to examine the relationship between women and work, considering how creative practice is sustained alongside the demands of daily life. I am interested in the structures, interruptions, and emotional experiences that shape artistic production, including care, labour, digital distraction, and interpersonal relationships. These elements are not separate from the work, but embedded within it.
Using photography and drawing to capture both staged and candid moments, I translate these into paintings that hold traces of process and time. Materiality plays a central role: I allow surfaces to remain open, layered, and at times unresolved. Visible underdrawing, shifting paint, and areas of ‘unfinishedness’ reflect an ongoing negotiation rather than a fixed outcome.
I integrate biographical experience with social critique, using feminist theory as both a framework and a tool for reflection. My work sits in dialogue with artists such as Alice Neel, Jordan Casteel, Lynette Yiadom-Boakye, and Caroline Walker. Texts such as Self-Portrait by Celia Paul and With Darkness Came Stars by Audrey Flack offer insight into these lived experiences, acting as both reference and point of comparison. Talking to Women by Nell Dunn and Daily Rituals: Women at Work by Mason Currey, have further informed my understanding of the structures, habits, and inconsistencies that shape creative practice.
Through projects such as SURGE III and Women of the NHS, I have developed a range of methodologies grounded in collaboration, observation, and exchange. Across all aspects of my practice, I am concerned with how painting can hold space for complexity, where multiple narratives, temporalities, and experiences remain visible.
For me, re-examining and foregrounding female experience from women’s perspectives remains a necessary and radical act.