How can I shift the artistic understandings of works created by womxn artists from “an ontology of being, to one of becoming (Marsha Meskimmon in ‘Women making art: History, Subjectivity, Aesthetics’, 2003)”?


How can I expand beyond the art object’s absolute dependence on materiality and identify a discursive space for both subjectivity and agency within the determining of the object’s form?


Not your female artist archetype


Unfired stoneware clay, concrete block, polystyrene and plastic rubble

Text pieces accompanying installation


Not your female artist archetype


Fired stoneware clay, concrete, polystyrene

When canonised forms are moulded from synthetic materials, which are theoretically resilient but revealingly fragile, does this expose a crack in our cultural socialisation? And, furthermore, through the re-forming of man-made objects, does this narrate an impermanence of power?

Not your female artist archetype


Fred and unfired stoneware clay, concrete blocks, stone

How could I render this impermanence? By displaying ‘incomplete’ objects, abandoned mid-process, alongside stable, concretised ones? Or through the active use of fluidity and spillage as gestural interventions within or against forms?

Not your female artist archetype


Fired and glazed stoneware clay, concrete blocks (Detail of front)

Not your female artist archetype


Fired and glazed stoneware clay, concrete blocks (Detail of back)


"I guess you could say that my eyes were lifted from my vagina."(Judy Chicago, 2012)

Still Waiting




In an exploration of a ‘womxnhood’ which centres around female-bodied identity, sexuality and feminine adaptation, this sculptural piece traces the personal questioning of identity formation and consequential navigation of space(s). My vagina, my breasts, my clitoris become my locust; within this, I find opportunity and hindrance. But do I assume my own oppression? And has my bra become so heavily weighted, that I am unable to move past it?

These questions derive from two independently collected sentences, acquired using the ‘cut out’ technique.



“Place as a condition of time”

Interrogating the notion of ‘place’ as a fixed, concrete, tangible space.

When seen in conjunction with ‘time’, ‘place’ loses its autonomy and becomes negotiable; the effects of time determine how a space is perceived. Place becomes subject to decay, but also, regeneration and reimagining.

It could be an abstract space – a personal, internal place.

It could be a conditioned one.

It could be a socio-historical positioning or context.



“How to make your resolution stick”


Personal resolutions.

How to fuck shit up as a queer, feminist artist.

How to turn art around, emasculate the man, and claim my own masculinity, but never diverge from my femininity

(Which has manifested as a constant need to validate my position).

Maybe I can be a real bad bitch type.

A Tracey Emin, Linda Stupart, Rachel Harrison, Lynda Benglis, Andrea Fraser type.

A ‘take your bra off in a lecture just to focus’ type.