‘She embellished her life in a manner which probably influenced her decisively in the direction of her illness, by indulging in systematic day-dreaming, which she described as her private theatre’ .
I make art because I like to overshare. My main influence is the radical narcissism of 1970s feminist performance art and its resonance with social media culture.
My work is shaped by my lived experience of chronic illness: I use my practice to critique social narratives of gender, disability and mental health from an intersectional perspective. I examine historical and current sensationalising of women's sadness within popular and digital culture.
I’ve always found humour in the pseudoscience and misinformation that forms social narratives of femininity and illness. I play with the stereotypical association of feminine-coded crafts and ‘madness’, by using labour-intensive yet poorly executed sewing and construction techniques to create absurd, ironic or untrustworthy objects. It's this aesthetic of untrustworthiness that invites the viewer to critically interrogate and ridicule the social constructs examined by my work.
My practice is cross-disciplinary, combining drawing, sculpture, photography, body art and performance. Coming from a textiles background, the materiality of my work is chosen with great care. I love the physical process of assembling fabrics together with familiar domestic, tacky, and hyper-feminine objects. I feel a lot of affection towards all my strange little creations.
One day I realised I wasn’t making sculptures, but costume pieces. I started taking ‘on the go’ selfies wearing my creations, and my practice was transformed. I knew then my true calling had always been the (digital) stage.
I love working in miniature scale, creating sculptures and drawings with minute detail.
I’m currently working on a new project called ‘Quick Unpick’, exploring how my diagnosis of severe endometriosis and subsequent surgery forced me to confront my own relationship to gender, femininity and fertility.