What I'm doing always sits in the in-between. Through embodied and improvised methods that centre un-making and un-doing, I am revisiting sites of knowledge formation and allowing ways of sitting-with. 

My work is process-based and usually shared close by; at home, in social settings and at work, where I create spaces for listening, play and reflection. 

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You might encounter a mound of kitchen flour; sit around a table sensing into physical changes of state; hear a polyphonic script performed, or handle a collection of symbolic found objects ("prophetic objects") arranged alongside drawings, photographs and writing. Or calligraphy tests that convey partial instructions. Or an embodied violin performance recalling learning methods, exercises and etudes. 

 

My writing and thinking orientates around a series of "paradoxical objects", including the recurring figures of 'the mound' and 'the pool'. Each relates to different ideas of the singular and the collective whole.

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Since 2018, I have worked at In-Situ, where my role is Internal Development and Reflective Practice. What I bring to this work is shaped by my practice and vice versa.

Here, alongside the administrative work of co-running a radical arts organisation, this practice finds its expression around exploring the organisation's "Fluid Structure", creating space to co-learn, dis-entangle, sit with the tangle and contemplate, as (self-)reflective practice. 

      <What is the shape of a shared space of possibility

      where we can (safely) be many things at once?

      And what is the movement needed to co-exist

      equitably in these spaces?>

My practice is self-taught and initially developed out of motherhood as a creative context. My work is anchored by autistic experience and working through religious trauma, navigated through the post-industrial landscapes of the east coast where I grew up and the steep-sided valley where I currently live.