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Part of the 'To The Lighthouse' series- created for Wavelengths, an exhibition of nine women artist responding to the novels of Virginia Woolf
“...she took her hand and raised her brush. For a moment it stayed trembling in a painful but exciting ecstasy in the air. Where to begin?--that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that in idea seemed simple became in practice immediately complex; as the waves shape themselves symmetrically from the cliff top, but to the swimmer among them are divided by steep gulfs, and foaming crests. Still the risk must run; the mark made.”
―Lily Briscoe - Virginia Woolf, To The Lighthouse
Exhibited: September 2018- Hastings Art Forum, Spring 2019- Kaleidoscope Gallery Sevenoaks
Part of my Women's History collage series.
In 2018 we marked the centenary of the 1918 Representation of the People Act. The 1918 Act gave the vote only to women over 30 and certain privileged female groups
It was a significant first step taken towards the ultimate goal of political equality for the sexes back in 1918 and the centenary celebration had the power to start up important conversations but it's really important to remember that back in 1918 not ALL women were given the vote, and not ALL women got the vote on the same terms as men.
The rest of the women in the UK had to wait another decade and when I looked at the dates from around the world when other woman got the chance vote (and let’s not forget that some still don’t) then it really saddened me. I really had no idea just how much work we still have to do!
I wanted to create a piece of work that would celebrate the collaborative efforts of a variety of Women’s Suffrage campaigners.
Though they had their own complex histories and weren’t necessarily always working side by side amicably toward the common goal I still wanted to try to capture a snapshot image in celebration of their work.
I just know I could keep adding and adding to this image because with every new person I begin to learn about I just all further down the rabbit hole!
This work is is merely a dot on the landscape of the amazing women and men Suffragists and Suffragettes who deserve to be celebrated.
Post Script
What remains is more than before
In size, in shape and in love
You are here
Your arrival left a stain on my soul
A mark on my skin
A scar in my mind
Eyes blind dry from the sting of your needs
Heart aches with fear
Nights spent dancing with the moon
Give and take, give and take, give and take
Time slows down, our world grows smaller
Arms out in front blindly feeling the way
Chin on my shoulder
Milk on my back
Love
Works from left to right
The Culmination Of Time Well Spent, 2018
25x25cm panel with variable drape dimensions, plant based lake pigments (Gallnut, Myrobalan, Avocado Stone) beeswax & damar resin, cotton cloth, plywood
If I’d Known Then, I’d Have Done Less, 2018
25x25cm panel with variable drape dimensions, plant based lake pigments (Gallnut, Myrobalan, Avocado Stone) beeswax & damar resin, cotton cloth, plywood
The Stretch and the Burn, 2018
25x25cm panel with variable drape dimensions, plant based lake pigments (Gallnut, Myrobalan, Avocado Stone), beeswax & damar resin, cotton cloth, plywood
Exhibited: Kaleidoscope Gallery, Sevenoaks, Summer 2018 as part of the group show ‘Postscript’.
I made this as a dedication somewhere I LOVE to visit as much as I can... Margate, how I love thee! It's one of my favourite places to visit to get inspired and this is the stretch of beach we often hang out at, near to our favourite hotel, The Walpole Bay Hotel (It's not the hotel in the picture but is just a bit further up the coast, if you haven't visited there you MUST!)
Created in 2018
“matrix
(meɪtrɪks )
Word forms: plural matricesA matrix is the environment or context in which something such as a society develops and grows...the matrix of their culture.
Word origin of ‘matrix’
C16: from Latin: womb, female animal used for breeding, from māter mother”
— COLLINS DICTIONARY
Exhibited: June 2017 - Chatham Historic Dockyard - group show, This Is Tomorrow
August 2017 - Kaleidoscope Gallery, Sevenoaks - Group show, This Is Tomorrow
Who doesn’t love the Pavilion in Brighton?
Every time we visit it I just have to go and sit in the gardens and stare at it, I love imagining who would have visited it before me. That’s what inspired this print, I was exhibiting at the Brighton Art Fair just a stones throw from the pavilion a few years a go and I wanted to bring something with me to exhibit that reflected my love for such an inspiring building, grand building!
Originally created and sold in 2014
Part of the 'To The Lighthouse' series- created for Wavelengths, an exhibition of nine women artist responding to the novels of Virginia Woolf
"Whenever she “thought of his work” she always saw clearly before her a large kitchen table. It was Andrew’s doing. She asked him what his father’s books were about. “Subject and object and the nature of reality,” Andrew had said. And when she said Heavens, she had no notion what that meant. “Think of a kitchen table then,” he told her, “when you’re not there.”
So now she always saw, when she thought of Mr. Ramsay’s work, a scrubbed kitchen table. It lodged now in the fork of a pear tree, for they had reached the orchard. And with a painful effort of concentration, she focused her mind, not upon the silver-bossed bark of the tree, or upon its fish-shaped leaves, but upon a phantom kitchen table, one of those scrubbed board tables, grained and knotted, whose virtue seems to have been laid bare by years of muscular integrity, which stuck there, its four legs in air. Naturally, if one’s days were passed in this seeing of angular essences, this reducing of lovely evenings, with all their flamingo clouds and blue and silver to a white deal four-legged table (and it was a mark of the finest minds to do so), naturally one could not be judged like an ordinary person." - Lily Briscoe, Virginia Woolf, To The Lighthouse
Exhibited: September 2018- Hastings Art Forum, April 2019- Kaleidoscope Gallery Sevenoaks
This work was created and featured in the group exhibition Wavelengths.
Wavelengths - Nine women contemporary artists responded to the nine novels written by Virginia Woolf
The novel I chose to lose myself in was To The Lighthouse, this collage is inspired by both the characters and plot of that story which is set in Skye over looking a lighthouse and also the cherished childhood experiences of Virginia herself as they spent their own Summers in St Ives overlooking Godrevy Lighthouse.
I really loved researching and creating this work.
Exhibited: September 2018- Hastings Art Forum, April 2019- Kaleidoscope Gallery Sevenoaks
Part of the 'To The Lighthouse' series- created for Wavelengths, an exhibition of nine women artist responding to the novels of Virginia Woolf
"She could not say it. . . . As she looked at him she began to smile, for though she had not said a word, he knew, of course he knew, that she loved him. He could not deny it. And smiling she looked out of the window and said (thinking to herself, Nothing on earth can equal this happiness)—
“Yes, you were right. It’s going to be wet tomorrow. You won’t be able to go.”
And she looked at him smiling. For she had triumphed again. She had not said it: yet he knew."
- Mrs Ramsay, Virginia Woolf, To The Lighthouse
Exhibited: September 2018- Hastings Art Forum, Kent
April 2019- Kaleidoscope Gallery Sevenoaks, Kent
I'm fascinated by all things 'moon', if I can include some moon imagery into one of my collages then I always do! This piece was created digitally the textured background is one of my early oil paintings.
Exhibited: This Is Tomorrow, Chatham Historic Dockyard, June 2017
In the Autumn of 2018 while processing my lovely Mum's breast cancer treatment I started running, it helped me a lot with all the feelings I was having. One evening I impulsively decided to sign up to run a half marathon in London which at the time felt completely unachievable and foolish, I needed a challenge though and to get out of my comfort zone. Giving my brain something else to be scared about was in hindsight a wonderful idea and working my way through a training plan each week became incredibly cathartic. I became so inspired by my running experience that I began researching some of the women who have changed the narrative around women's running.
I LOVED researching and creating this print, in homage to my own journey I used a vintage postcard featuring Tower Bridge, the route I was running was half of the London Marathon route and Tower Bridge plays a big part in that experience, it didn't disappoint on the day I ran the race despite me being absolutely exhausted!
Training/running and researching/creating this work taught me a lot and I love looking at the version I have hanging beside my bed as I wake up each morning, it reminds me that anything is possible when we take it one step at a time..
Originally released: February 2019
“...she has lost the power of autonomy and free will in her own life.
From the first moment of her pregnancy, a woman finds herself subject to forces over which she has no control, not least those of the body itself.
This subjection applies equally to the unknown and the known : she is her body’s subject, her doctor’s subject, her baby’s subject, and in this biological work she has undertaken she becomes society’s and history’s subject too.
But where she feels the subjection most is in the territories, whatever they are that in her pre-maternal life she made her own.
The threat to what made her herself to what made her an individual : this is what the mother finds hardest to live down.
Having been told all her life to value her individuality and pursue its aims, she encounters an outright contradiction, a betrayal – even among the very gatekeepers of her identity, her husband or colleagues or friends – in the requirement that she surrender it.”
— CUSK,R.(2011)“FROM LIBERTY + EQUALITY TO THE MATERNAL GRIND” THE NEW REVIEW, THE OBSERVER, APRIL 3RD, 2011.
Exhibited: Exhibited: This Is Tomorrow, Chatham Historic Dockyard, Kent - June 2017
This Is Tomorrow, Kaleidoscope Gallery, Sevenoaks, Kent, August - 2017
Sarah Grand 1854 –1943
Sarah’s work dealt with the ‘New Woman’ a phrase coined by Grand then used by others in both a positive and negative context.
Her work examined the failures of marriage which made her unpopular with some.
Originally released: Autumn 2014
While visiting my parents who were at that time living on the beautiful, unspoilt island of Gozo we decided to visit the Ggantjia Temples which were located on the other side of the village.
I was blown away by how powerful an experience it was, the more I learnt about the temples and the belief that they were possibly the site of a Neolithic Earth Mother fertility cult that pre-dates Stonehenge, the more I became intrigued.
I became interested in some of the theories of archeologists exploring theories of peaceful Matriarchal societies from that time, I have since read updated thoughts that have disproven elements of that idea but I love the mystery of it all.
Some further reading on the subject can be found by looking at the work of
archaeologist Marija Gimbutas, her work in this field has since been questioned and is now considered controversial. The work of Charlene Spretnak talks about Marija’s theories and the controversy surrounding them. It;s definitely an area I’d love to dedicate more time to exploring.
My own Goddesses are representative of some of the strong powerful women that have been important to me over the years.
Exhibited: This Is Tomorrow, Chatham Historic Dockyard, Kent - June 2017
