The highly aesthetic component of my work is juxtaposed with the thoughts behind it: my work tending to sit precariously on that faint, wobbly line between ‘Art’ & ‘Craft’: My jewellery and ceramics are, to me, wearable sculpture, or useful sculpture-an attmpt to share my awe with others.
An obsession with a certain repeating morphogenetic pattern, or occurrence, that I noticed years ago: termed ‘three way junctions’ by the Natural Scientist and Mathematician D’arcy Thompson in 1912, has inspired the majority of what I do. It is an unappreciated phenomenon, which, as well as being the strongest and most economical way of using any material, it is also the most beautiful (in my view!).
I hope my work could be thought hewn from the earth; to have grown at the bottom of the sea; emerged from a cucoon or constructed by a society of huge insects. Usually made in metal: Steel, copper, brass., bronze and silver, I also work in porcelain and stoneware clays, wax, lime/limecrete and biomaterials. I also utilise plants and insects in my work: making sculptural pieces to ‘deform’ plants natural growth patterns; placing objects in my honeybee hives, or encouraging them to build ‘wild’ honeycomb’ for me to use, and experimenting with Mycelium and ‘mycotecture’ -the use of mycelium in building structures and objects. Experimentation is a huge part of my practice, each piece of work inspiring and informing the next.
My ‘vegetable jewellery’ project is, on the surface, a series of jewellery that adorns vegetables, while the fact that I use the jewellery to deform and control the shape and form of each fruit stems from the cultural and historical practices of deforming the shape of womens bodies, through corsetry or neck rings, as well as the consumerist drive for ‘perfect’ fruit and vegetables.