My artistic process is an exploration of the intricate relationship between my body and the traumatic experiences it harbours. As a survivor of abuse and sexual assault, I've grappled with a sense of disconnection from my own body – as though I am some separate entity living inside it. This coping mechanism initially offered protection by allowing me to compartmentalise pain, grief, and trauma, but it became clear that the harder I fought these emotional remnants, the more they demanded acknowledgment. I've come to accept these lived experiences will always be part of me, and through my art, aim to transmute sharp, stinging pain into something still, and quiet – something that can be comfortably lived with.
Referencing my torso for size, I handbuild biomorphic sculptures from clay, finishing them with glaze that mimics the dewy texture of raw clay, using a palette derived from my skin tone and bruises. These sculptures incorporate organic elements like cellulite, bones, organs, often surrounding a central orifice which invites exploration from every angle. Square oil-on-panel portraits painted of these sculptures in surrealistic colours provide a static, filtered view of the sculptures, controlling and restricting how the sculpture subject is perceived.
Throughout my work, I am seeking embodiment through abstraction. Abstraction provides a layer of protection, allowing me to share these totems of trauma publicly. The juxtaposition of apparent accessibility within the sculpture and the bounded, curated nature of the paintings and textiles create an intriguing, almost magical aura – a shared secret for those who linger a bit longer and look a bit closer.
