I work with cloth that already has a history: thinned by use, stiffened by repair, suffering damage it was never designed to survive. Cloth carries what happens to a body, in ways that resist easy explanation, and that resistance is where my practice begins.

Cloth holds multiple experiences at once - the moment it was made, its age, its failure through wear, whatever attempts at repair came before mine, and the unrecorded labour of care, maintenance, and use that has been largely disregarded. These do not collapse into a single story. The interventions I make do not seek to resolve or fix meaning - they become another layer of evidence, holding the cloth’s past and my present together in future possibility.

I work with embodied knowledge. Five decades of handling textile - learning to sew as a child, making and remaking clothing throughout my life - allows for a certain precision. A sense of what the cloth will and won’t do arrives almost before touch. Knowing when to act, and when it has already spoken, is felt before it is fully understood.

Material has always been my argument. In a cultural moment that converts damage into content, that accelerates past difficult experience and demands resolution, this practice takes a different stance. The hand is present but not on display. Deliberate restraint resonates as powerfully as what is performed.

My work asks for a specific kind of intimate attention: to encounter rather than decode, to stay with what has been marked, held under pressure, and continues, regardless.