Having given up my career as an IT consultant, I studied for an MFA in Fine Art and an MA in History. I am now pursuing a PhD on a part-time basis. This research will combine a History thesis with a practical Fine Art component on the subject of Linnaean taxonomy and how his system of ordering plants was reflected in the collections, pursuits and fashion of elite eighteenth-century women.

Having just moved my studio to a narrowboat on the Thames in Oxford, I will continue to work to commission, teach and participate in community outreach events. Current projects include the illustration of the third part of acclaimed author Sally Bailey's memoir and working with the Childhood Trust on the project No Child’s Land. I am also a member of the art collective ‘Portable’ and am preparing for our first show at The Old Fire Station in January next year.

For further information please contact me.

My inspiration comes from collections ranging from those of museums which cross cultural, historical and natural science boundaries, to those of the individual, whether the discerning Victorian lepidopterist, the eccentric 'collectaholic' of memorabilia, or merely the accumulated bricolage of everyday life. We all have a primal urge to collect.

Historically a 'Cabinet of Curiosity' contained a collection of objects which refused to fit into any recognised system of taxonomy. It was a display of the wealth and education of the collector, found within the home and constantly rearranged to inspire awe and wonder.

Today, with increased mobility, technology and globalisation, the world has shrunk and we are able to place objects within a familiar context; their power to seduce and amaze is diminished, yet we still seek out the curious and unfamiliar whether to display in our homes, or within online Pinterest galleries.

In curating my own collection, the modest, mundane, imperfect or impermanent is celebrated. The notions of value and preservation are accentuated by using traditional techniques such as the Japanese craft of Kintsugi, the Egyptian process of mummification or the Victorian art of taxidermy. Connections between times, materials and culture are merged to provoke a sense of unexpected fascination and create a story.

Meticulous cataloguing systems, codes and phonetic symbols are utilised which position objects according to a multiplicity of characteristics, new sub-classes are created, connections overlap and curious juxtapositions occur. I seek to balance the familiar with the unexplained, the real with the imagined, to create something simultaneously small and intimate whilst also striking and impressive, something both beautiful and rough, something serious yet absurd.