About

Following a degree in Art History and English at York University, I originally trained as an easel paintings’ conservator at the Courtauld Institute of Art. I am particularly interested in the history of making, and in the human relationship with materials and the natural world in the creation of art and telling of stories. I hold an MA in Arts and Ecology, and my work focusses on the interwoven narratives of the human and more-than-human through time.

Deeply rooted in the particular materiality of place, my practice of natural pigment making informs every aspect of my work. Pigments are found and foraged, grown and harvested. Earth is sifted and washed; bones charred in the absence of air; plants simmered and laked. Borrowing Donna Haraway’s concept of ‘sympoiesis’ or a ‘making with,’ the work is collaborative and relational. Making and writing become visceral arts of recognition and remembrance; acts of care, and quiet resistance within the ‘violent unmaking’ of life in the Anthropocene.

Fascinated by indigenous concepts of non-linear time, I am searching for a practice that might bring us back into relationship with the living Earth and all those with whom we share her. In telling ‘stories about the dead and the dying’ I am calling them into kinship with the living; turning to the past, to actively reconstruct the future.

I am an elected member of the Society of Graphic Fine Art and an invited member of the Wilderness Art Collective. I exhibit throughout the UK and my work is held in public and private collections. Recent publications include Dark Mountain, Wild Roof Journal, and the Center for Humans and Nature. I live in Devon.