My work reflects on and reimagines fragmented identity and hyperspecific female experiences through a ritualistic process of reviewing, organising and mending images, materials and memorabilia collected over time. It is about the meaning contained within images and material objects and the processing of scattered remains, borrowing methods from my background in administrative roles. My work is made up of collage, bricolage, collections, curations, artefacts, image grouping and world building in a variety of different forms.

An obsession with the perfect female image and social placement informs my work. Drawing from personal experience, my research explores topics such as body dysmorphia, mixed heritage upbringing, class boundaries, and public image. Living across a pre and post-internet existence is deeply influential, where gaze is amplified and identity is fragmented and distorted. I’m influenced by complete and coherent patterns in nature, universal truths, which allegorically replicate in psychology and are symbolised in archetypes. These structures provide a framework where more chaotic influences can be let loose.

Ultra-personal specificities of family heritage and upbringing encourage me to question how the enforced stifling of parts of identity impacts on the psychology of a person. My work examines memory and makeup, investigating how long traits survive through the generations that come before. The repeating motif of existing between two modes of being, attracts me to research that includes seemingly unrelated topics; I am interested in what happens when opposing types of things co-exist, merge or collide.