My work is conceptual, it embraces a research-based approach, but is material focused. I delve into the stories and experiences of intergenerational women and draw inspiration from the concealed narratives and dynamics that have shaped our collective lives. 

My creative process is an exploration of the unseen, a celebration of the resilience borne from necessity. Interweaving painting and drawing skills with traditional textile crafts. These materials and techniques, laden with their histories and meaning, mirror the silent strength and resilience of women throughout generations.

Process takes precedence over product in my practice. I attempt to honour the innate qualities of my chosen material, by allowing evidence of the making process and layers to remain visible. Echoing the Kintsugi method, my creations bear the marks of repair(or not) and restoration, embodying the idea that our scars and vulnerabilities are an integral part of our history. I like to position my work in the space where discomfort meets beauty.

Guided by the principles of Relational Aesthetics, the dialogue between viewers and my work interests me. I believe that art’s true power lies in the conversations it initiates, the stories it unravels, and the emotions it stirs. I am drawn to the hidden narrative, the subtle discomfort that provokes introspection. Just as women have often needed to be chameleons to survive and thrive, I aim to engage viewers in questioning what they see before them; to emerge with more questions than answers. I often employ the use of Braille text.

The work of artists such as Doris Salcedo, Mona Hatoum, and Ailbhe Ní Bhriain have left an indelible mark on my creative journey. Their ability to evoke emotions, challenge perspectives, and unveil the hidden, resonates deeply with my own aspirations.

Thank you for engaging.