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Biography

Having been highly creative as a child and young person I then had a creative drought for a few years where I abandoned myself and my creativity in order to follow a destructive love and to travel the world. After this time I returned home with a renewed desire and need to create, and I found myself again. By then I was a mother and the need to explore my passions and interests took on a deeper, more searching character. Needing to have a mental and physical space to explore those interests and where they might take me I moved from London to Brighton to do a sculpture degree. This is where I unearthed some of the themes and ideas that preoccupy me still, years later. I began exploring my own response to the Land Art and Arte Povera movements, finding nature within the urban landscape, and making art with whatever everyday materials were available by skip-diving and finding thrown-away material on the street. I was simultaneously becoming aware of the dearth of women artists, in all genres. I channeled my anger at this into my work and did a lot of reading. I came across the book The Women Who Run with the Wolves by Clarissa Pinkola Estes, a Jungian psychoanalyst’s feminist interpretation of old folk and fairy Tales. My piece entitled Hidden Treasure consisted of a trail of ivy leaves leading to an ivy-covered makeshift grotto where a child’s apron contained a sacred clay figure, based on the story of Vasilisa the Wise and the intuition doll she hid in her pocket that guided her on to the right path. This is where my fascination with and love for ancient pottery figures began. My previous love of clay had been reignited. I was drawn to learning about the ancient view of the earth as a living being, as a mother, and how that notion had changed and been covered over by patriarchal beliefs and the raging monster of capitalism and consumerism. I wanted to use my hands to make with the substance of the earth, to uncover the sacred feminine and creatively embody the strong, powerful beauty and connection to land, soul and the earth as a living sacred being.

Artist Statement

I find my creative practice the best way to express myself. As a neurodivergent person I often prefer to show visually what I want to say rather than use words. I am inspired by the mystery and beauty of ancient pottery, and yet the simplicity and directness of the way it’s made. I want to create my own visual language, with signs and symbols that have meaning beyond the decorative and connect to a deep well of spirit and reverence for the sanctity of the natural world. The feel and texture of clay appeal to me, it’s malleable yet resistant properties, it’s earthy consistency grounds me. The mental sensation of relaxation yet clarity of focus that comes from making with clay is unique for my mind, and I find it better than mediation. Lately I have been experimenting with outdoor firing techniques, using a coarser more heat resistant kind of clay. I am loving the resulting unpredictable smoky patterns made by the flames licking the surface of the clay as it fires. I am also enjoying having a new kiln and will be testing out different glazes, patterns and surface treatments.

Art Practice

I love the feel of clay and the process of hand-building. I don’t throw on a wheel. I build a pot using the coil method or make pinch pots for smaller pieces. I also make tall standing figures using the slab method.
Clay connects me to the part of me that knows how to be calm and focused. When I am in the flow of creating with clay it is one of the only times I sense my usually busy mind slowing down, I feel grounded.
I am fascinated with ancient pottery, particularly the clay ‘goddess’ figures from prehistory. I feel a sense of something powerful and immediate, even though they are from so long ago. I take my inspiration from researching about ancient ceramics. I have mostly been making work in red clay lately, which I bisque fire and then put in a bonfire to give it a ‘smoke cloud’ decoration. It has an earthy, elemental look and is reminiscent of some of the ancient clay figures, bowls and pots I so love but it also has my own distinct style.

Magical Women

Magical Women is important to my continued creative development and my own discovery of my Neurodivergence, which is inexorably linked to my artistic expression. Here I have a space to feel confident and free as my unmasked self, a space that is not provided in most other settings for artists.