Below is a collection of projects and exhibitions.
TENTS
new work
Caravans and lighthouses
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ghost ships
In this series of photographic works titled “Ghost Ships”, the domestic space is reinterpreted as somewhere romantic and epic. Made entirely in the artist’s house of over one hundred years old, the idea of the ghost ship is used as a metaphor to reveal underlying narratives of the everyday surfaces and materials of the home.
longing
In this collection of images, the theme of “longing” is presented through a number of scenarios involving images of characters and other subjects taken from film, books and TV. These characters are introduced into our lives through the various forms of media and begin to occupy our conscious. We often isolate characters of significance, removing them from their original context and take them as our own. In these images I imagine characters left longing to be back in their original text.
Elizabeth gaskell's home
Dotted around the rooms of Elizabeth Gaskell's family home (now a preserved historic site) I created a series of images with the idea that they could act as glimpses of the building’s memory. The images remember narratives and characters from Gaskell's novels, visitors to the house and significant geographical links that have played a role in the life of the writer.
I became interested in the idea of creating artwork at the Gaskells' House after noticing a historic site blue plaque through the misty window of a bus and finding out who lived there. I'm not sure why, but it became a haunting site to me that somehow maintained its demeanour after all this time. However, after many years of passing the house daily on the way to University and then work, it was the sight of scaffolding and the beginnings of its renovation that finally incited me to approach the Gaskell Society about making artwork in the house.
cotton pickers
Created in the National Trust's historic site Quarry Bank Mill, Cheshire, the intention of this project is to create images that visualise a memory of cotton’s history, linking it back with its place of origin and hands that picked it. The figures in the scenes are arranged in such a way as to appear to be gathering up and re-collecting the cotton fragments and fibres from the floor of the mill. In doing so, the figures make a gesture towards the notion of recollection, remembering and memory of cotton’s history.
