My art is an emotional extension of my self. It often represents my experiences of joy and grief as a part of life, and has always been directed by my responses to colour, pattern and texture.

In my sculptures I am informed by a variety of region-specific techniques (sewing and embroidery), which reflects my interest in the way fabric can bind history, tradition and contemporary art.

I call some of them ‘memory sculptures’. Many of the fabrics I work with have personal significance: donated swatches can trigger memories and associations, such as learning to sew with my mother, travel adventures, time with family and friends.

Each memory sculpture is uniquely informed by both the donor and their fabric. My sculptures embody the individuals who donated them, making my constructions relational, generational and emotionally significant. I enjoy the personal conversation when working with someone’s fabric, which provides unexpected but welcome emotional connections.

A memory sculpture is not just for the distant past, or the whole of a person. When I look at Alexander’s 7 y/o Self, I remember the adventures and laughs we had together with my son, the buying or gift of a t-shirt. Its like a photograph of a particular time.

The Pam’s Liberty sculpture I created for my mother is very special to me. Even though I created it for her when she was alive, since she has died it takes on more significance, and continues to create a variety of memories of her.

The process for my sculptures starts with shaping an aluminium rod into a unique shape. I nail it to a wooden base, then cover this with plaster. These abstract structures are then dressed and decorated in donated or second hand fabrics.

I use a variety of machine and hand sewing techniques to create volume, texture and tone in fabric, which I attach to the armature. I often employ playful elements to add context, humour, representation.