The work started as a way to explore the ideas of history - a personal history with two very different landscapes that I had a love and a loathing of: the rural countryside where I spent my childhood and young adolescence, and the urban cityscape that my education and career had took me to.
I became fascinated with the book Nausea written by French philosopher Jean-Paul Sartre and how the character longed for fulfillment in his life that he no longer found satisfying. The idea of loving something so much that you became detached from it.
I began working at first with video and photography - sourcing photographs from these two landscapes and experimenting with projection and movement in response to these images. This developed into costume, and I began working with fashion designer Nadia Kelly and sculptor Geraldine Chenery - both artists who specialised in creating with knit, crochet and felt. We worked together on a costume which I could perform in which was heavy and engulfed the body. I liked the idea of the costume being a weight and overwhelming - like a burden or the sensation of overgrowth.
I didn’t feel like the projections were important anymore - they were far too literal. I started relating more to objects from those two landscapes, that represented there history in a minimalist way. The work stopped being presented through the body and more through sculpture because of the costumes influence.
I have now moved on to sourcing ready-made objects to build upon using a range of textiles. I am interested in how these sculptures can interact with the viewer - becoming a performance through objects.