Tell us what you do?
I am an artist teacher (who is preparing to transition into more artist than teacher) and I guess quite an eclectic practitioner: my work influences how I teach and vice versa. As one of the sketchbook circle participants I take my sketchbooks into school to share with students – they find it inspiring and their reactions and ideas also inspire me. I take a camera and a sketchbook everywhere I go and am a bit of a visual hoarder: digital technologies have been a real blessing for me as I can record more source material easily in places where it is impossible to sketch. I am lucky enough to have been able to create a studio space in my house and it is full of 40 years of collected things, stuff, materials, images and work. I have always worked in mixed disciplines following a degree in 3-dimensional design and Photography at Farnham but over the years the range I work in has expanded. I work predominantly with Traditional darkroom or alternative Photography techniques or Printing processes such as intaglio, lino and etching but I also work in clay and I paint. I try hard to produce artistic creativity every day but it is often hard to do as so much ‘other’ invades my time; I used to only work in A3 sketchbooks but the sketchbook circle helped me to see the limits of that way of working, now carrying a small sketchbook helps a lot.
How would you describe your work?
Eclectic, expressive, experimental and provocative; they stimulate conversation. My paintings represent the power of the feminine and explore Goddess narrative, the other work is all more experimental I like to work in layers and sequentially so it is hard to say something is finished as I often go back to pieces. This makes them quite complex at times, sometimes my work can get a little confused which is why I like to leave it a while and then go back. The most straightforward work is my photography as the process limits how much you can layer/stack without ruining the final outcome.
What’s your favourite tool or material to work with?
I love using old, well-made tools. I still have my clay tools from university and my first SLR camera; an Olympus OM20 plus lots of older cameras. I have an enlarger from the 1950s and a Victorian nipping press. I have a box full of different types of photography paper and film, some from the 1930s, and a collection of very old negatives, etched plates and magic lanterns that I use too. There is something about using old materials: they sit well in my hand and I think each has its own character and personality. With older photography tools and materials there is less predictability and more magic to discover, somehow, they smell differently and respond in a more interesting, creative way than modern versions.
Where do you go to find creative inspiration?
To be honest it is all around me, the people I am lucky enough to meet, colleagues and students, the environment and galleries. I visit galleries often and love books, I have lots. I find music, architecture, light and the sea a constant source of inspiration. I am very lucky to have had really amazing sketchbook partners who have all helped me to develop as an artist, they inspire me and motivate me, every single one. The sketchbook circle and the NSEAD totally re-energised me, helping me to re-find myself as an artist, to have belief in myself and to value what I do. I joined the Tate membership which has been a motivator to nip to London and see work. I always enjoy visiting smaller galleries to discover new artists too. The Human Body exhibition at the SCVA and the Photography work we saw in Berlin last Easter was truly inspirational, I am currently obsessing over the ideology and processes of Berenice Abbott and Lazlo Maholy-Nagy. I also continue with my obsession with shadows and silhouettes – how they distort, travel where we cannot go, fold and bend yet remain part of us: really intriguing. I photograph my shadow everywhere I go, I also capture other peoples shadows.
What’s the first arty thing you can remember making?
A drawing of my sister – my mum was pregnant at the time and I was pretty obsessed with what my new sister would look like. My first really clear memory is of lying on the grass down the road from my parent’s new house using a piece of paper taller than me and some charcoal pencils to draw an old tree from below, I was focused on the texture and the marks the pencils made. I was 11 – I still have the drawing and the tree is still there; like be it is bigger, wider and has more interesting textures.
What are you working on at the moment?
I had created a small studio in what was part of the bathroom but have found the space increasingly limiting of what I can do; prints fill the wall space drying so I cannot paint too and there is no space for photography. We have made a decision to move the dining table into the conservatory – we will wear coats in the winter (haha) and I have spent the last 2 weeks sorting and moving stuff spending money on storage and using freecycle a lot. I nearly have a much bigger space to work in, it will be finished this weekend and every time I pass it, I grin
The new space has enabled me to set up a darkroom on one side with the 3 old enlargers I have sourced so I can work on my analogue photography at home rather than at school. I want to learn photographing etching processes so that I can combine my two main loves: photography and print-making. I learned both at university but that was many years ago and I do not feel too secure about photo-etching. I have booked onto a course to learn/refresh my skills
I have managed to find an old mangle that has been converted to an intaglio press. It will enable me to work larger up to A3 size. I am very excited about how I can combine both these techniques; maybe I can also use the etching process with clay too?? Who knows!
I am also considering starting a PhD
What’s the best piece of advice you’ve been given that’s helped you to develop as an artist?
Be positive and open minded, take risks, embrace the process of discovery and embrace failure: it is a good way to learn.