Each piece is a response to changing materials, density and texture.
Image and composition are generated through spontaneous mark-making and photography, and translated as layers of densely pigmented and printed surfaces.
Through museum research, 'black' cloths originating from different cultures are being surveyed. Investigations are focusing particularly on the plainer cloths that result in a pure darkness made of many-coloured blacks, which, through their making, become 'living' cloths that evolve in response to organic material, climatic change, minerals, and human interaction - that is, transient cloths that change over time. Often, the work references the repetitive motion associated with their making - the rhythm of coating, beating, burnishing and polishing.
In parallel, other works are a response to the material qualities left behind in the aftermath of fire - a moment in time between destruction and regeneration, when burnt structures reveal traces of dormant plants above and below the surface. The density of earth and ash is expressed through multiple layers of drawing and print on cloth.
Ideas are expressed in abstract form, sometimes imagined as a dark void, sometimes as dense matter, a tensioned line or punctured space.
Research degree expertise: key themes
- Rhythm and repetition in making
- Human interaction with materials
- Density and space
- 'Black' cloth.
Professional Membership, Affiliation and Consultancy
- 2009 Fellowship of the Royal Society of Arts
- Fellow of the Higher Education Academy.
- 2009: Textile Society £1000 Professional Development Award
- Sole Investigator Research report published in TEXT: the Textile Society Journal for the study of Textile Art, Design and History, 2010-11