What are your main concerns?
There have always been two main threads to my work, the human condition and natural forms. These have now begun to fuse together a lot more. I’m interested in the relationship that I see between my own body and natural forms around me. We are all made of the same matter and we all break down in the same way. This is a very calming and soothing notion for me.
I’ve been focusing on the idea of membrane. The delicate, vulnerable layer that plays such an important role – separating the inside from the outside, and holding everything in place, but that can so easily be broken. I’ve been exploring these abject and cyclical themes through video-performance works.
What are your biggest influences?
The performance art of the 60s and 70s from artists such as Ana Mendieta Gina Pane has always fascinated and inspired me. The natural and delicate work of Eva Hesse has also been influential. During the last couple of months, researching the history of bloodletting for healing, release and balance has also been significant in my practice.
What do you like most about the studio?
The community environment in the studios is so much better now than it has been in previous years. If you’re ever confused or need a second opinion there is always someone around. It’s refreshing to walk into the other studios and see everyone getting on with their own work when your having a bit of a block.
How has your work changed?
I think my work has always been skirting around the same ideas, but this year I think I’ve grown more confidence, and am allowing myself to put more of myself into my work and make it more personal. This has always been something I’ve been quite scared to do in the past.
What are your plans after graduation?
I’m planning to move back to London, and start looking for work in the arts. I want to give myself some time to try different things and figure out what I really want to do. There are a few possibilities at the moment, so I’m excited to see what happens.