CV
2nd July 1981, London
Lives in Spain
Education
MA Fine Art 2013-2016
BA Art for the Community with Spanish 1999-2003
Recent group exhibitions
'Mighty Minis' curated by Suzan Shutan, Melanie Carr Gallery, Connecticut, USA February 2018
'The Last Show We Ever Did'. Proto Gallery, NJ, USA November 2017
'The Secret Postcard Show' curated by Rachael Pinks. The Old Lockup Studio, Uk September 2017
'Mighty Minis' curated by Suzan Shutan, The Souterrain Gallery, Connecticut, USA July-September 2017
'Ocotillo', curated by Jonathan DeDecker at Stella Elkins Gallery, at Tyler School of Art in Philadelphia, PA, USA January 2017
'X1 MA Fine Art Degree Show', The Civic Barnsley, South Yorkshire, UK June 2016
'Expand and Flourish Among New Acquaintances', Proto Gallery, NJ, USA April 2016
'Work on Paper', the Armory Art Fair, NYC, USA March 2016
'Wanderer', Angelika Studios, UK, October 2015
'Pulp Painting' at Studio Apothiki, Cyprus, September 2015
‘Fresh as Form’ on Curating Contemporary online gallery (US based) April 2014
‘Pair’ at Proto Gallery, NJ, USA December 2013
Recent solo exhibitions
'Play Time' at Basement Gallery Lleida, Spain, February-March 2017
'Warm Autumn’ at Beat Lleida, Spain, January-March 2015
‘Dragonfly’ at Sala Laviña, Spain, December 2014
Lives in Spain
Education
MA Fine Art 2013-2016
BA Art for the Community with Spanish 1999-2003
Recent group exhibitions
'Mighty Minis' curated by Suzan Shutan, Melanie Carr Gallery, Connecticut, USA February 2018
'The Last Show We Ever Did'. Proto Gallery, NJ, USA November 2017
'The Secret Postcard Show' curated by Rachael Pinks. The Old Lockup Studio, Uk September 2017
'Mighty Minis' curated by Suzan Shutan, The Souterrain Gallery, Connecticut, USA July-September 2017
'Ocotillo', curated by Jonathan DeDecker at Stella Elkins Gallery, at Tyler School of Art in Philadelphia, PA, USA January 2017
'X1 MA Fine Art Degree Show', The Civic Barnsley, South Yorkshire, UK June 2016
'Expand and Flourish Among New Acquaintances', Proto Gallery, NJ, USA April 2016
'Work on Paper', the Armory Art Fair, NYC, USA March 2016
'Wanderer', Angelika Studios, UK, October 2015
'Pulp Painting' at Studio Apothiki, Cyprus, September 2015
‘Fresh as Form’ on Curating Contemporary online gallery (US based) April 2014
‘Pair’ at Proto Gallery, NJ, USA December 2013
Recent solo exhibitions
'Play Time' at Basement Gallery Lleida, Spain, February-March 2017
'Warm Autumn’ at Beat Lleida, Spain, January-March 2015
‘Dragonfly’ at Sala Laviña, Spain, December 2014
Statement
There was an art movement in the 70’s and 80’s in the USA called Pattern and Decoration. It consisted of a group of “mostly female artists who were reacting to Minimalism and Conceptualism, often working with fabrics, designs and symbols borrowed from ancient South American, African and Asian cultures. Critically their work is often viewed through a feminist lens, celebrating the pleasures of ornamentation, repeating motifs and domestic spaces.” I identify very strongly with this art movement in both style and motivation. My work is vibrant and exudes a shear sensual delight in colour, shape and pattern. I’m attracted to folk art and tribal art most of all because I enjoy how colour and shape is used. But it’s not just this, the symbolic nature of this kind of art gives it meaning and more importantly a magic, sacred quality that resonates with a part of me that wants to know why we make art and what it’s really for. For me art acts like a prayer, and also a celebration of something that isn’t quite me but maybe something that I can connect to.
My work is made in response to the things in my life that really move me, and really mean something to me: my children and my own childhood; the sense of play, humour and mystery in their lives and mine; the stories we tell each other walking home from school about spiders or feathers; the way my work is sometimes a great game where I make up the rules and just see what I can come up with in whatever medium.
A sense of play, in my process, contrasts with a kind of “awkwardness or discursiveness: a restless sense of not ever being satisfied with finding the answer; openness to the occasional work that confounds expectations, ineffably adding up to more than the sum of its parts”.
My work is made in response to the things in my life that really move me, and really mean something to me: my children and my own childhood; the sense of play, humour and mystery in their lives and mine; the stories we tell each other walking home from school about spiders or feathers; the way my work is sometimes a great game where I make up the rules and just see what I can come up with in whatever medium.
A sense of play, in my process, contrasts with a kind of “awkwardness or discursiveness: a restless sense of not ever being satisfied with finding the answer; openness to the occasional work that confounds expectations, ineffably adding up to more than the sum of its parts”.
