Artist Statement

My practice is rooted in pilgrimage not as a single, defined journey but as a layered, ongoing movement of the interior life. I am drawn to the idea that pilgrimage happens simultaneously across multiple scales of time: the journey of a lifetime, the journey of a season, the journey of a day, and the journey of a single moment. This multiplicity shapes both the subject and the structure of my work.

I work across a wide range of media: fabric, dye, bleach, paint, drawing, print, collage, stitch, sculpture, photography and installation, choosing the medium that best serves the idea. My current practice has a strong material focus in textiles, though this is a response to where the work has led rather than a fixed identity. A pivotal shift came when a tutor urged me to come off the stretcher, and that instruction freed me into a more open, material-led way of working. Fabric became not merely a support but a site: absorbing, holding, resisting and disclosing. I am drawn to surfaces that bear the evidence of process, worked slowly and accumulatively, worn and layered over time, leaving traces.

The materials themselves carry memory. Personal fabrics, re-worked elements from earlier pieces, marks that accumulate over time — these are not decorative choices but acts of witness. Making, for me, functions like devotion: a contemplative discipline in which slow attention becomes a form of prayer. The process does not resolve questions of faith so much as keep them open and alive, held within the texture of the work itself.

My practice sits at the intersection of contemplative Christian spirituality and contemporary material culture. I am drawn to the inner landscape of the heart and the outer landscape of the world as part of the same life: a life understood as pilgrimage, as faith without maps, as a willingness to dwell in uncertainty and find the sacred woven into the ordinary. The mess and unfixedness of life is not something to be resolved but something to be present within, and it is there, in that presence, that the work begins.

The work I make is not illustrative of doctrine. It is an attempt to render visible an interior movement: something that happens in the body, in time, through material and gesture. Installations and objects invite what I hope is a quality of quiet — a space for viewers to pause, to locate their own inner journey, and to find in the work a resonance that is personal without being prescriptive.

I am currently developing a body of work around interior pilgrimage, exploring how presence, memory and transformation accumulate across different rhythms of time. These are works that ask, quietly and persistently: how does slow making shape an interior life? How do small marks and gestures hold spiritual significance? And how can a shared material space become a site for communal contemplation and renewal?