Current project

Some things are not said, they are held. This body of work gives form to what is internalised, tracing the weight of silence, control, and endurance as they are carried within the body and embedded in the structures around us. It examines the body as a site of containment, where experiences of silence, control, and endurance are internalised and made visible through symbolic figuration. Figures appear suspended within net/web like structures, held in states of tension that suggest both physical and psychological entrapment. These forms operate as metaphors for the subtle and pervasive systems that shape lived experience, structures that are often invisible, yet deeply embedded. The work does not seek resolution, but instead holds these conditions in suspension, allowing ambiguity, pressure, and stillness to remain.

A restrained visual language, marked by emptiness, repetition, and controlled composition, creates a sense of visual silence. This absence becomes active, reflecting isolation, emotional weight, and the persistence of what remains unspoken. While grounded in the experiences of women, the work extends beyond a singular narrative to engage with broader questions of power, vulnerability, and systemic constraint. It considers how these forces operate across both personal and collective contexts, shaping the ways in which bodies are seen, controlled, and silenced.

Recent developments expand the work through material exploration and spatial thinking. The introduction of layering, translucency, and suspended elements begins to extend the imagery beyond the canvas, suggesting environments of containment rather than isolated figures. Through this approach, the work moves toward a more immersive and spatial practice, shifting from representation toward the construction of environments in which silence, tension, and endurance can be physically and psychologically encountered.

This body of work is at a pivotal point of transition. The move toward spatial and material thinking, layering, translucency, suspended form, requires uninterrupted time and an environment that can hold the scale of the inquiry. The next stage of this practice demands physical space to test ideas that cannot yet be fully realised in the studio: environments of containment rather than representations of them.