Inspired by long periods of time spent in Japan where the four distinct seasons are celebrated, my work engages with the quiet philosophy of mono no aware, a sensitivity towards time and mortality. I am interested in belonging and dislocation, remoteness and ritual, separation and intimacy, time and impermanence, isolation and migration, repetition and remembrance, stillness and light, silence and rhythm, pilgrimage and place.

Observing the way in which time behaves in remote and rural places has resonated in ritualistic acts of making. Since re-locating to Northumberland in 2016, I have collaborated with its expansive landscapes and dark skies, marking each seasonal shift with paper, ink, wood and silk to connect and convene with nature. Meditating on the earth’s rotation, the phases of the moon and tide and our relationship to light and time inspire performative acts with the landscape documented through printmaking, video, stitch and installation. In turning our attention to the temporal, everyday is an event to be celebrated. The work seeks to commune with nature, allowing our eyes to caress and our minds to meditate on our relationship to the transience of all things, heightening our awareness of imperfection and impermanence.

 

Biography

After graduating from London College of Printing in 2002, I was awarded a 2 year funded residency at Manchester School of Art, where I also worked as an Associate Lecturer until 2010. In 2011 I relocated to Japan, where my interest in printmaking developed. As joint recipient of a British Council International development award in 2015, I initiated a collaborative project at IMPACT 9 Printmaking Conference in China. The project traveled to Southern Graphics Conference International (SGCI) in Portland, USA in 2016. Later that year I was awarded a one year residency with VARC (Visual Artists in Rural Communities), in a remote part of Northumberland where I am still currently based.

Residencies at Hospitalfield in Scotland, Kala Art Institute in California and NES in Northern Iceland have informed a collaborative approach to research and developed an exploration in durational work in combination with printmaking. Works are held in public and private collections including Tate Britain, Yale Center for British Art, Stanford University, Chelsea College of Art, Manchester Metropolitan University, State Library of Queensland and Massachusetts Institute of Technology. Recent work has been presented at Art Toronto, The London Art Fair and The University of Hawaii, where I was joint-recipient of the Awagami Paper Prize.