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Using acrylic, oil and conte pastels, charcoal, linseed oil and graphite pencil.

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Collected images of stacked objects, observational drawing of found objects in pencil, ink, bleach, conte pastels and gouache. Mark making experiments. Artist research - Mark making - Zeng Lianje and Abdelkader Benchamma and artists who work with non monumental sculptures -  Philllida Barlow & Andy Goldsworthy.

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Body Imperfections… what we worry about… what we hide… what affects our confidence and well-being.  We are a society obsessed with our own aesthetic.  We strive for body perfection, filtering out the bad parts.

A scar, a birthmark, stretch marks, wrinkles, burns, cuts and bruises.  These usually have a significant meaning to us, forming a road map of our lives on our skin.

Can we consider these ‘ugly’ parts in a positive light?

I photographed family, friends and myself, focusing on what are normally considered flaws.  Using the basic forms within the images I developed them into a collection of contemporary 2&3D pieces with the hope that it would help us to celebrate and accept the parts that we would normally hide or struggle to explain.

I experimented with text, based on feelings and statements about the specific areas photographed.   I also focused on the shapes, patterns and repetition within to create ‘portraits’ or a ‘reflection’ of each individual involved with the hope that I could encourage us to feel more at ease with our physical selves and appreciate that there is beauty found in every part of us.

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Photographs of spiderwebs for delicate project, capturing moments/ glimpses before they are gone, taken further into printing, painting, ink, oil pastels, graphite and acrylic. using different surfaces like tissue paper and newspaper.

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Taking shapes from photographed spiderwebs covered in water, simplified to develop into a 3d piece made with wire , modrock and plaster. submerged in oil paint and water to depict the shapes water creates.

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Researching different organic forms like plants, shells, caves and rocks and looking at land artist work.  Planning to combine these ideas to create a vessel (a safe place) with an outlook, either light coming into the vessel or, with a view of beauty in the landscape through the vessel (like from inside a cave).

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Experimentation with ice, taking the ice as the protective vessel, keeping the idea of a curved protective shape. Photographing in different environments. Experimenting with sculpture using leaves and stones as the medium. Clay sculpture based on rock and plant forms. Development of plaster finals.
Final idea to create a vessel with a random, natural quality on the outside, and a more organised pattern within.

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Photographs of the marks left by rain on trees and plants, allowing ink and water to mix freely, the drips formed are similar to the water on the trees. Also, pulling string to form symmetrical pictures depicting the reflective quality of water.
Colliograph of the reflecting light on waves.

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Collated images of water in different forms developed in different contemporary styles using pen, ink, bleach and pencil, working loosely in some and very detailed in others.

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Experimenting with oil paint and water and the shapes created when mixed.  Creating marbled paper but also photographing the paint itself and the residue left within the working area, I found these photographs to be just as interesting.

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Developing from water photographs collected and creating plaster pieces to depict the shapes left by water particularly in sand, inspiration taken from Liz Larner works and Jack Cheetham workshop.  Imbedding objects and ink in the plaster and photographing the changes in the piece a the ink dries.

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Photographing the ice sculpture further. Very close up and placed on a reflective surface allowing the light and ink to enhance the shapes that the melting ice has formed within. ephemeral in nature and captured before it is gone

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Returning to experimenting with ice and wire to depict the shape of a water vortex/ whirlpool. Adding inks to the sculpture and allowing it to melt, capturing the fluid movement and changes as it melts. Photographed on a reflective surface in an indoor and outdoor environment to catch the light through the translucent surface.