As an artist with a history rooted in textiles, her research arises out of the positioning of her practice on the boundaries between the disciplinary contexts of textiles and fine art. Her practice-based research interrogates the complex material and semantic conventions of the textile, together with the everyday functioning environment, modernist legacies, and postmodern discourses with which the medium is entangled. These provide a point of departure for an expanded artistic practice that variously takes the form of wall-based objects, sculpture, and installation.
Her early work harnessed the processes, materials and accompanying contexts of needlework/plain-sewing within the conventions of a minimalist aesthetic and the discourses of modernist autonomy. More recent work extends the agenda from the legacies of modernist abstraction and debates surrounding the literalist ‘objecthood’ of minimalist painting and sculpture, to one that draws its reference from the everyday ‘object-ness’ of mass material culture, and the often overlooked spatial practices, corporeal habits, and repeated routines through which we invisibly mediate our relationship with the world.
Her current practice takes the form of a quasi-catalogue of interchangeable ‘thingly’ sculptural components, which are conceived in a way that can be configured and reconfigured within a series of formally staged mise-en-scènes. Offering the opportunity for continual rearrangement, the physical form of the work remains essentially mutable. Meaning similarly remains mutable mobilised through the various connections and temporary coalitions that are set in play across the different elements, the installational context and the subject of the experiential encounter. Informed by Theodor Adorno’s conception of the constellation and mimetic comportment and framed within PhD research entitled 'Pragmatics of attachment and detachment: medium (un)specificity as material agency in contemporary art', the studio enquiry developed into a much wider philosophical and phenomenological interrogation of the ‘productive indeterminacy’ of aesthetic experience as a formative sensuous mode of knowledge production.