The uncanny, the subtle sensation that things are not as they should be, is a recurring theme within my work. I frequently utilise personal and domestic items for their familiarity, heightening the tension between the real and the unreal; concrete and illusion. Chairs and other frequently handled objects often appear in my work; their relationship to the body and the space we inhabit allows them to take on an almost physical presence even when the owner is no longer present, giving them the power to symbolise the missing person. Anatomical imagery also has a similar ability to embody the whole even as part.

Appropriate materials and techniques are chosen intuitively to explore concepts; for example embroidery draws the viewer in for closer scrutiny - utilised in 'Foreign Bodies' embroidered wall pieces and 'Buried in Woolen' relied on the tactility of wool and leather to encourage participation. Traditional craft techniques form the foundation of my practice; these however are often used in unconventional or nontypical ways.

Rooted in a love of collections and their ability to reveal stories not only of the world around us but also about their collector, many of my projects begin within a museum or specific collection, research and then experimentation through making.