My practice centers around large scale oil paintings that, in combination with performance pieces and photographs, cumulate towards a body of work that aims to address female desire, perception and power and the pain, pressure and pleasure that comes with this. My work is multi-disciplinary both in the sense I use a variety of art forms, but also that I use them together, combining performance and painting, and using my photographs to explore ideas and as reference images.

Relationships with ourselves, with others and with society and its expectations are all basis from which my work begins, and the longing gazes and embraces coupled with turned backs and vacant expressions that often appear in my work stem from this also. My photographs are editorial and obviously posed, my paintings are still and performances contained, all are snapshots within which I use aesthetics and form to examine and scrutinise.

Photographs from Carlo Diamanti and Francesca Woodman, and paintings by Bo Bartlett and David Hockney have influenced my practice, and figuration is central to my work. Figure, Body, Form, sometimes it would be nice to take off our bodies like a coat and hang it up on a hook by the door, to put back on when we feel ready to be perceived, but this is not the case – and the exhaustion of perception permeates my practice. I have considered work by Allan Jones such as Table, Chair and Hat Stand (1969), and the critical response it has received, and aim to add to this. While my art does not function as an immediate criticism of the points I speak about here, my hope is that in playing with these images and themes, I can gain a deeper understanding of society and self, and that an audience may gain this also.