1. Tell us about your path to becoming an artist and designer?
I studied Architecture which led to an interest and love of representing space and making models, materials and hand drawing.
This led to an MA in Design at Central Saint Martins in London. My interest in the creation of structures and spaces has been continuous alongside the relationship between the body and objects. I am now based in the Cairngorms and have wanted to use my making language - making three dimensional drawings and transforming lines to create volumes - to also tell stories about places and ecology.
I aim to capture and share the experience of being in a constantly changing, beautiful and expansive landscape through my work and explore the passing of time, seasonality and the ever-present experience of nature.
2. Tell us about your materials and techniques?
Drawing is at the core of my practice, and I think of all my work as l drawings in wood. I am fascinated by repetition and creating spaces without boundaries and play with implied movement, through form and materials.
I work primarily in wood, and I am conscious of the sourcing of the materials that I work with. Timber has a history and adds to the story of place. I often work with gathered materials and use a variety of techniques including laser cutting, steam bending and wood turning.
3. What inspired the work you are presenting with Craft Scotland at Collect 2022?
This group of work has been informed by two gardeners and two gardens.
My hillside garden in the Cairngorms Scotland and my sister’s flower farm in South Australia. Sending images of plants and flowers have been a communion. Conversations about gardening and experiences of nature has provided connection, understanding, joy and comfort. The variety of forms capture the brilliance, awe and wonder in the structure of plants observed from two hemispheres.
Made entirely from Beech, these pieces are garlands that capture conversations, moments in time, pattern, rhythms and the light of a garden whist acknowledging the difference of place and distance.
4. What is a special detail from this new body of work?
For the first time in my practice, I have developed a technique that allows wood to be the sole material used in the creation of the pieces. It is mathematically complex, as each component slots into one another.
One of my favourite books is ‘On Growth and Form’ by D’Arcy Thompson and I am interested in how through repetition precise forms and structures become organic and almost feel alive.
5. What do you hope the viewer will take away from this work?
The joy and awe in aspects of nature is universal. I wanted to capture qualities of precious landscape within these pieces and play with the beauty, structure and pattern within plants so that the viewer experiences this feeling. I also wanted to explore light and shadow, so these pieces constantly change with light levels and the direction of the sun.