ABOUT THE WORK
TRACES AND FRAGMENTS SERIES
These were ideas developed from observation of the long and short term effects of the passage of time in the landscape - on the soil, vegetation, and on the traces of an earlier presence. More immediate changes, such as light, relating to colour and shadow, have been a recurring interest. Erosion, decay, and the breakdown of substance leads to a focus on change and the ultimate result that is fragmentation. The series, Fragments, consisting of monoprints, drawings and reliefs, uses materials integral to the ideas, such as remnants, debris and natural found objects, combined with traditional art materials. Research into the fragments of ancient garments was carried out in the textile archive of the Victoria and Albert Museum, and the Petrie Museum, in London, and at the Pitt-Rivers Museum in Oxford. The Shroud Series and work about traces derives from this work.
"The process of fragmentation and disintegration is a theme that is currently informing my work because of its commonality with all organic matter, and its relevance to the human condition. Archaeological fragments, garments in particular, have a powerful resonance with their earlier human associations, and provide a visual stimulus which underpins my work." (2016)
LAND AND MEMORY SERIES
A residency in 2012 at Monnow Valley Arts, in rural Herefordshire, enabled a period of research, development, and experimentation with new materials. This was based on a desire to make work that resonated with the substance of the land itself, and what lay beneath its surface. Concentrating on a specific area, the Black Mountains of the Wales/England border, was appropriate because it was already familiar to the artist as well as being rich in geological and archaeological interest with an abundance of ancient sites and hill forts. Fire became apparent as a recurring element in the relationship between human occupation and the land, others being reclamation, ritual and burial. Materials and methods used included: fire debris, ash, scorching, burning, paint and pigment.
FLOATING LAND SERIES
An Arts Council of Wales Travel Award in 1994, followed by a Bursary in 1995, allowed for a period of time working in Friesland. Much of the region consists of reclaimed land which is below sea-level. The work from this period used found materials, earth pigments, pastel and paint. The concepts included bringing together the perceived domesticity of the Dutch culture, with an entirely man-made landscape.