Weaving Thread
STRUCTURAL TEXTILES & MATERIAL EXPLORATION
Weaving Thread
Weaving with found objects from the seashore and woods turns cloth into a living record of place. Driftwood, fishing line, discarded plastics, and found objects are held in gentle tension by fibers colored with plants, minerals, and insects. Each thread carries the memory of its dye bath—salt air, sunlight, tannins, and smoke—while the objects interrupt the grid of the loom with irregular textures. The finished weaving becomes a tactile landscape, stitching together tide lines, paths, and seasons.
Natural Dyeing
EXPLORING cOLOR tHROUGH pLANTS, pLACE & tIME
Natural dyeing is a slow, experimental process that connects textiles to the places and materials they come from. Using everyday organic matter—onion skins, tea, rust, leaves, and flowers—I create subtle, layered color on silk, wool, and cotton. Image transfer and eco printing allow plants and found objects to leave their direct imprints on cloth, blurring the line between drawing and dyeing. This technique echoes the rest of my work: gentle, patient transformations where ordinary materials record touch, time, and memory.
Painting
This collection of contemporary watercolor invites the viewer to imagine the stories that shape a person's experience of mundane everyday actions. In each vignette the individual then becomes a vessel for mood, memory and self reflection hinting at private worlds shaped by habit, labour and pause.
RECORDING TIME, SPACE & MEMORY
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Sculptural Forms
SHIFTING SILHOUETTES
The sculptures below introduce the heart of my creative process, showing how I move between observation, experimentation, and making. The first hints at my connection to landscape and found materials, the second focuses on the close-up textures that emerge through touch and repetition, and the third reveals how those elements come together in a finished piece. Seen together, they trace a quiet arc from gathering inspiration to transforming it into tactile, layered forms.
Penguin
This free-form penguin sculpture is hand-built in stoneware, finished with white slip, black wash, and delicate touches of gold leaf. Rather than chasing strict realism, the form is simplified and gestural, capturing the bird’s weight, curiosity, and quiet resilience. The contrast between the matte clay body, inky shadows, and luminous gold suggests shifting light on feathers and ice. Rooted in the natural world, this piece echoes my broader practice of observing animal bodies as moving landscapes of shape, texture, and emotion.
Organic Growth
These metal poppies grow out of past memories of family loss, each petal hammered, bent, and shaped to hold a specific absence. Working in metal is a new medium for me, yet it carries the same quiet sensitivity and attention to material that runs through my textiles, natural dyes, and clay forms. Here, rigidity becomes tenderness: hard surfaces are thinned and curved until they feel almost weightless. The poppies echo my larger practice of translating grief, resilience, and connection into tactile, enduring forms.
Body Unfolded
This ethereal sculpture of the female form is built from feather-light paper clay, its surface washed in an ox-blood glaze that pools in folds and softens along the edges. The figure feels as if it’s half-emerging, half-dissolving, holding both strength and vulnerability in a single gesture. Shaped slowly by hand, each mark records a moment of listening—to the clay, to the body, to memory. The deep red wash becomes a river of experience running over bone and skin, a trace of all the journeys, losses, and quiet connections that shaped this form into being.