I have an MA in History and also in Fine Art. I work to commission, teach, work on public engagement and community projects, and run Oxford Summer School, a week of affordable classes in art and craft.
My artistic inspiration stems from the acts of collecting and organising, repair and display. Through my practice, I adopt the role of a curator, deconstructing and reassembling objects and texts to build counter archives which construct fresh narratives and forge unexpected connections. Working across disciplines, I blend analogue and digital methodologies to reimagine and juxtapose elements from the past and present, challenging conventional categories of culture, class, gender, and race. My work consistently highlights the inherent hybridity and ambiguity that persist within our attempts to understand and organise history, knowledge, and identity.
Working from my narrowboat, I am researching for a PhD in Fine Art. My question, simply put, asks how the eighteenth-century system of categorising plants developed by Carl Linnaeus, which described flower structures in terms of the human body, and aligned plant reproduction with the marriage bed, reflected and reinforced the elite social culture of the era?
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