About

I work with found and worn textiles. The cloth I use is already marked - by use, by time, by what it has endured. My practice begins there, with material that already has a history that can't be undone.

The work develops through processes of deconstruction, straining, and intervention: tearing along structural lines, patching with cloth from other sources, stitching without completing. These are not expressive gestures. They are responses to what the material already presents - attempts to work with damage rather than resolve it.

Across my practice, this has meant engaging with cloth as evidence. Not illustration. The stain, the structural failure, the worn edge are not metaphors I impose - they are conditions I work from. My interventions sit alongside those conditions rather than over them.

The earlier work approached this through figuration and identity - the female body, domestic objects, personal garments, names. The material was always the argument, but the work was also willing to be legible through story and symbol. That register is still visible in the practice, and I don't disown it. Fracture is at the core of it: parts that don't close.

What has shifted is where that argument now sits. A new body of work, the Repair Series, makes it explicit: repair not as an act that moves toward wholeness, but as an ongoing condition one inhabits. The altered structure that has to keep going. The cloth doesn't recover. It holds together in a changed state, and the work holds with it.

The feminist framework running beneath all of this is structural, not declarative. The found cloth is female-associated - domestic, body-adjacent, carrying the history of care and labour and use. The interventions are drawn from the same register. That history doesn't need stating. It's in the material.

The work asks for a different kind of attention: not to be read for meaning, but to be encountered as condition. Something that has endured, undergone something, and continues.