About
After gaining a degree in Fine Art and Ceramics at The University of Cumbria, graduating in 2008, my interest in the materiality of clay was firmly established. Due to the commitments of family life, I took a hiatus from my creative path until personal circumstance changed and I was fortunate enough to get a job as an art technician in a local high school. Here, I was able to get my hands back on clay and to engage practical art-based skills. Despite not making my own work, helping others to connect with their creativity reminded me of the importance being creative holds and re-ignited a desire to pursue my creative journey. Being able to explore the fundamental elements of clay and having the freedom to play and experiment with the material, provided the opportunity for me to grow upon the foundations I built nearly 20 years before. Through immersive study, I formed an interest in the relationship between material and maker, in particular, the relationship women have with clay, drawn from historical uses to contemporary interpretations. Discovering how research feeds into the work I produce is an integral element to my developing practice and will inform my work moving forward.
Project overview
Metamorphosis: Intuition of the Hag
Primarily focusing on the archetypal ‘crone’ or ‘hag’ aligned with the transformative nature of women and clay, this body of work addresses the dichotomy of womanhood in response to feminine ageing. Drawing from folklore, myths and legends where older women were once revered as divine hags, and considering the repercussive effects historical events such as the European witch trials has on the judgement of women today, I utilise the elemental properties of clay to explore a visceral response to the common threads running through women’s lived experiences and the impact patriarchal society has on women’s autonomy. Embracing the materiality of clay, I work intuitively using traditional hand building methods, such as coiling, to produce sculptures inspired by the remnants of ‘women’s work’ and the tangible forms which women created in response to their fears. Inhabiting a liminal position, these biomorphic forms are neither goddess nor demon but move away from figurative representation like the shape-shifting wise women they evoke. This body of work is intended to invoke ancient feminine energy and to reignite a connection between modern women and their historical counterparts. As I stand on the threshold of elder-hood, researching and making these pieces paves the way to a more positive outlook to the next chapter in my life.
Shape Shifter Series
Shape Shifter
Shape Shifter
Old Stone Hag 1
Old Stone Hag 2
