I make paintings, spells and rituals. My work continues enquiries into the mysteries of the soul which began as a child; for whom hours spent contemplating the inner world and observing the outer world came together in drawings, paintings and imaginings. The realm of the spiritual remains core to my work; expanded to include a diverse range of spiritual traditions from around the world. Often I make work in series, hinting at patterns of transformation from one state to another; from winter’s death to February’s hope tinged yellow.
I come to painting and to the spiritual aware of the maleness of their histories. Respecting these traditions yet seeking more, I place myself beside them; held womb-like within feminist/feminine shapes, patterns and ways of knowing. My paintings seem almost, but not quite, geometric; they seem almost, but not quite, abstract. They arel full of wobbly lines, imperfect triangles and pregnant rounds. My current paintings take as a starting point the rituals and rites associated with the eight solar festivals and 13 lunar months of the ancient Celts, and draw on transformative process such as those described in the i-ching and The Tibetan Book of Living and Dying.
From 2001-2011 I worked with Patrick Simons as Glorious Ninth.
I studied BA(Hons) Fine Art Painting at Manchester Polytechnic and was trained in traditional painting techniques and Modernist approaches that included attention to the specific properties of paint, support and canvas; aspects of formalism; and a recognition of the unconscious mind at work beneath stated intentions. As an undergraduate I sought ways to account for the ‘feminine’ within this approach to painting and rooted my work within a feminist context. These approaches underpinned my research into media archaeology whilst studying MSc Multimedia Systems at London Guildhall University, and subsequent research into the feminising of painting in the post-medium condition. My practice-based PhD at the University of Leeds, under the supervision of Griselda Pollock and Chris Taylor, brought together network theory and Matrixial feminist theories of subjectivity and aesthetics.
My work has been disseminated nationally and internationally and is archived in online collections. I have given talks on contemporary art and curatorial practices at Tate Britain, Tate Modern and Tate St Ives. From 1998 until 2018 I worked as a Senior Lecturer in Fine Art, Curatorial Practice and Interactive Art, at universities in London, Dublin and Falmouth.