My practice harmonises Fine Art and Craft through sculpture, installation and performance. Through exploiting fabrics gendered connotations, I use processes with historically embedded ties to domestic creation. The blurred dichotomy between comfort and discomfort (experienced by the viewer and myself) has been a continuous thread running through my practice. For me, making is a way of questioning notions of femininity, and disrupting certain expectations around being a woman.

Women’s embroidery, once known as ‘flowering’, was the starting point of my most recent finalised artworks, ‘Cut Flowers’ durational performance series. I ‘deflowered’ floral fabric for consecutive days, deconstructing the beauty of the material, rather than constructing beauty through the addition of embroidery. I work at the same conscientious pace as sewing but methodically snipping out flowers instead of stitching. The meticulous process travels through the pleasurable stages of a repetitive act, as it transforms into a painful obligation; swaying between mindless and mindful creation.

My recent research began with a transition from using floral fabrics to real flowers; from ‘Cut Flowers’ to cut flowers. A personal transition into gardening work, undertaking horticultural training and working as a self-employed gardener has naturally fed into my practice. After spending many hours day in, day out, gardening, I began to see synergies between the ‘Cut Flowers’ durational performances and performing gardening tasks. Spending hours in gardens cutting, tidying, moving repetitively around the confined spaces gave me a lot of time to ponder upon the research ideas I am currently exploring.