I am a visual artist based at Spike Island, Bristol and a full-time boater living on the regularly flooding and dynamic River Avon. I make work that comes from my immediate, daily experience of living and working in a watery environment.
Boat life is in many ways precarious. The worlds of inside/outside are very porous, the weather and water surround us. Whether sun-kissed lull or filthy brown torrent, being a boater is a very immediate embodied experience of a shifting river ecology.
I am drawn to these constantly shifting fluid ecologies, the tidal mudflats of the Estuary, the detritus, floating carcasses, rusty paint-pitted boats of the swollen river… The ecological fragilities of my immediate watery environment echo some of my own experiences of personal vulnerability that then re-echoes back through my work.
My work moves between devised performative practice responding to a self-directed proposition or score, sculptural objects working mainly with living and found materials, projected digital media, and installation which I use to provide a vehicle to explore/encounter the relationships and stories between these various ways of working. There is a deliberate intention to not tie the work down — I am interested in porosity and how the rubbings together of different forms of practice can act as a mirror to the way our own human experience rubs up, often uncomfortably, against the ‘natural’ world.
An installation of my work was included the exhibition 'Found Cities, Lost Objects: Women in the City', curated by Lubaina Himid, Arts Council Collection / Royal West of England Academy this summer (2023). Other recent projects include curating a group collaboration ECO|CON (2023); co-producing ‘Isn’t Bite Also Touch? an event on contagion and desire (with artist-writer Jack Young, Spike Island, 2022); and creating BRISopoly, a large-scale site-specific installation for Centre of Gravity, Old Soap Factory (Bristol, 2020).
I am an Honorary Research Associate at the University of Bristol and a member of the University's Historical and Cultural Research Group. I publish academically.
Recent support (2022/3) includes Arts Council DYCP, Ideas Exchange funding from The Brigstow Institute, University of Bristol and a West of England Visual Arts Alliance R&D bursary.
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