Can you provide an overview of your artistic background and journey?

Creativity has been the fibre of my being for as long as I can remember. However, growing up in a working-class background with no spare cash meant that the uncertainty of an art career was not an option for me. It wasn’t until later that I could pursue my dream of art school at the ripe old age of 43. I am beginning my final year of a BA Hons fine art degree at Sheffield Hallam University.

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 What mediums do you primarily work with, and why did you choose them?

As an installation artist, my mediums are varied as they are often the message within my works. However, you often see mirrors, thread, and objects repurposed, scavenged, or found.

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 How would you describe your artistic style or approach?

I am a conceptual art activist raising awareness of important social and political issues by peering into the gaps in systems and power structures, revealing narratives that are seldom as they first seem.

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 Could you walk me through the conceptual process behind some of your notable works?

  My general process of creation is as follows. See or experience something, be inspired, research it, reflect on it, and create a response to it. For example, my ‘Mirror Mirror on the Wall’ piece stemmed from finding a broken mirror at the side of my stepdaughter’s bin. I instantly thought of the brokenness of how most of us perceive ourselves and how consumerism (which requires a desire to sell products, and that desire is created by clever marketing through ideologies and social norms) affects that perception. Further research highlighted the entanglements of consumerism, psychology, and the self, which gave me the idea to add text using red thread around and across the mirror. I then reflect and put myself in the position of the spectator. In doing this, I realised that the work asked the spectator to confront themselves, which I felt needed a more private space away from distractions. This is where the idea to create a booth came from that would later become a barcode you enter with a hidden message.

This piece was also shown at my recent solo show INCONSPICUOUS in July. However, it was reworked and displayed differently to encompass the site specificity and the relationship with my other works on show.

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 What themes or subjects inspire you the most?

I believe in the power of the powerless through collaboration and connection. My work aims to create this through awareness, transferring the power back to the people, and recent themes have covered poverty, consumerism, the cost-of-living crisis, and the objectification of woman’s bodies. I am also primarily inspired by everyday observations and embodied experiences.

 

 Can you explain the techniques or methods you use to create your art?

Eclectic! My methods and techniques vary depending on the work’s requirements. My previous methods include casting, painting, ceramics, installation, sculpture, media, film and participatory. There is often some transformation or reconstruction in whatever I create.

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 Do specific art movements, artists, or historical periods influence your work?

The situationist international movement influences my work as well as conceptual art. Various artists inspire meg: Duchamp Yoko Ono, Tracey Emin, Barbara Kruger, Racheal Whiteread, Lindsay Mednick, Sarah Lucas, mike nelson, Gordon Matta Clark.

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 How do you ensure your artistic vision and style remain consistent across different projects?

Because for me, my artwork reflects my life, the things and experiences and the world we live in. There is no escaping that. Art is life.

 

 Can you talk about any challenges you've faced during your artistic career and how you overcame them?

My biggest challenges have been personal ones. I went into art school as an undiagnosed neurodivergent, which was hard. I felt I needed to be better on every level. Following my diagnosis and learning that I was not dumb and just learnt differently was liberating. Yet the old, ingrained beliefs of myself and imposter syndrome are a daily battle.  My system for overcoming these struggles is throwing myself into the deep end and worrying later. Luckily, I’ve managed to surface every time. I’m hoping that with time the uphill swim will become easier.

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 What is your favourite piece in your portfolio, and what makes it unique to you?

I’m not sure I have a favourite. There are all unique in their way, as they should be.

 

 Have you exhibited or sold your artwork before? If so, could you share some of those experiences?

I have exhibited numerous times both physically and online. I have won awards, worked collaboratively, and had works published. I also sold artworks and sold globally when I custom-painted pleaser heels. My claim to fame is custom painting two pairs of boots for Lizzy from Halestorm that went on tour and went to the Grammys.

 

 How do you approach collaboration or working on commissioned projects?

Commissioned work is a thing of the past for me as I am more actively involved and interested in working collaboratively to create awareness of issues through my creative expression. I am diligent in collaboration and understand the importance of organisation, timekeeping, and good group dynamics for a successful project. I am an active member who helps however, I can, yet I understand any issues that may arise.

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Do you have any particular goals or aspirations for your artistic career?

I plan to continue exhibiting around the UK, both inside and outside the gallery and within the community, to spread awareness and give back the power to the people. I understand that to do this. I will have to explore funding options.

 

 What feedback or reactions have you received from viewers or clients in the past?

Feedback has been positive so far, but I understand the nature of my work may not be to everyone’s taste, and that’s okay.

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 Do you actively seek critique or feedback to improve your work? How do you handle constructive criticism?

Feedback and critique are essential for my growth as an artist as it provides me with other perspectives I may not have considered, opening me up to new ideas or concepts. I often share my work with other creatives before release for valued feedback. It helps me holistically assess my intentions or highlights anything I missed.

 

 How do you consistently stay motivated and inspired to create new art?

It’s like a compulsion which I can’t stop. I never have a day off. If I’m not actively researching or working on a project, that is when my mind is most receptive to everything around me.

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 Can you discuss any ongoing or upcoming projects you're working on?

We have the Love Sheffield Artist exhibition in Oct / Nov, which I am actively involved in. I also have my first solo show, ‘INCONSPICUOUS’, 12th – 21st July at 2-4 Matilda Street, Sheffield. All details for these can be seen on my socials.

 

 What role do experimentation and exploration play in your artistic process?

We learn through experimentation and exploration, so I am always experimenting, exploring, and trying out new things. I’m hoping to explore welding next semester.

 

 Lastly, is there anything else you want to share about your portfolio or artistic practice?

Other than thank you for taking the time to read this, I hope to meet you at our Love Sheffield Exhibition or my solo show on July 12th. You can find details of my solo show here