In 2005 at the age of 60 I made the decision to study, part time for a BA (Hons) Fine Art  degree. It was something I'd always wanted to do and somehow avoided for numerous reasons. I didn't think I was 'good enough' if truth be known. I married early and had 5 daughters, then spent 30 years in various arts and voluntary sector jobs. My daughters now all have degrees and in 2012, it was my turn.  As a mature student the wealth of experience and memories that I bring to my practice has been a real strength. I have even enjoyed critical studies and the challenge of writing essays and a final dissertation. In 2012 I acheived a BA (First Class Hons) in Fine Art which made me very proud. I promised myself that if I got a first I would apply for the MA in Contemporary Art Practice. I got accepted and I wrote about my experiences on my other blog which is HERE. I completed the MA in July 2015 (10 years of studying!) 

My practice explores the mystery of our existence revealed through our connection with the world and the marks and traces we leave behind. It embodies the relations between history, daily life, memory and the ever changing present. I am concerned with a broad theme of time, layers of meaning and memories, and with what has been lost or discarded. I focus on the transitory, fragile and fragmentary nature of existence, human identity and mortality.  

I have a passion for walking in the mountains or by the sea, and travelling to different places, where I like to spend time wandering and sometimes getting lost. I often collect something along the way, a stone, a travel ticket, a fragment that sparks a memory of that journey, place, and time.  Being experimental, curious, playful, taking risks and accepting failure is central to the way I develop my ideas. I also enjoy initiating collaborative projects and inviting other artists to take part, not quite knowing how the project is going to develop. Keeping a journal is an important part of my working process. 

I am a collector of ‘seemingly’ mundane objects that hold a personal fascination. My artistic practice often feels like a forensic investigation of 'historical' fragments; a search of the past in order to create associations that illuminate the present. I examine these fragments and objects through printmaking, drawing, projection, alternative photographic techniques, for example pinhole cameras, photograms and Super 8 film. I also take lots of digital photographs and collect archive images for reference. The materials that I use are chosen for their strength to convey a message, and as a catalyst for igniting debate. I incorporate found and discarded objects whenever possible to support my concern with environmental issues. My work may be two or three dimensional or take the form  of an artist's book or installation, often as multiples, collections or repeated units.