My practice is rooted in the studio craft tradition and explores the possibilities and significance of the hand made object within a contemporary fine art context.
I combine the skills of bookbinding and printing to create artists' books, book objects and site specific work, but also have a tendency towards collecting unusual items which are assembled to create object narratives reminiscent of the 'cabinets of curiosity' that were desirable during the age of enlightenment.
The book is an object made by and for the enjoyment of hand and eye, but also suggests a deeper alignment to body and mind, of thought and word.
I find the most fertile source of material can be found through engaging with places of interest or a documented history, where the traces of the past have left an almost tangible presence. Navigating back and forth between past and present, discovering the ways and lives of people, their rituals and beliefs, is always for me a fascinating journey but has also strengthened the connections to my own ancestral heritage which interestingly follows a meandering line of craftsmen from shoemaker to whitesmith. I pride myself in the fact that I am playing a small part in helping to keep these endangered craft skills alive.
The sensuous materials of bookbinding: rolls of coloured book cloth, leather, linen threads and silk headbands, spines and covers decorated with gold leaf, all sumptuous in their own right but never more so than when aesthetically combined.
The making of these 'contemporary artefacts'‘ is both absorbing and captivating but it is the slowing down’ of time that seems to occur during the process that for me, brings a sense of permanence, meaningful purpose and reparation.