Exploring the intersections between atmosphere and memory, this series of work, Sisters Series, focuses on photography as a tangible piece of nostalgia.

The images are an opportunity to explore your own memories and reframe them within the boundaries of the alien-like and haunting landscape of the English coast. The bleak images on expired film are also an introspective peek into my own early memories of photography. 

The artist often captures microscopic images and videos in the development of her artwork. She habitually looks for repetition and pattern in forms and movements. The existence of mimicry in structures and behaviours that are reiterated across species and at different scales of life is an expression of forces of natural selection at work over millions of years.

These prints exhibit multiple ambiguities; they are abstract and referential, expressive and structured, constructed and dismantled, balanced and unsteady. Like any organism, the figurative component of each composition is to some degree interwoven with its environment. These etchings contemplate habitat, home, shelter, nest, pattern, recurrence, organization, and connectedness.

Three Lines serves as an exploration of the de- and recontextualization of pop-culture nostalgia, in a visual arts medium that both elevates and denigrates seemingly meaningless ephemera. The artist’s background with cinema as both an academic and unabashed fanboy obsessive informs the monumentalizing of often unmemorable lines of dialogue from popular Hollywood cinema. By including references to these films, which epitomize postmodern pastiche, the work continues to reappropriate the reappropriated, furthering their postmodern status as well as fashioning them into a decontextualized piece of text to be taken at nearly face value. The work then serves as enigma to those lacking the nostalgic reference, and makes those who are so equipped complicit in the work and the cultural dialogue it strives to create.

My work deals with the relationship that architecture has to history and to an imagined space. I use unrelated objects at different scales, alongside architectural features to change the symbolism of both objects. I combine unrelated images in a uneven scale as a way to draw similarities and contrasts between the two that would not seem evident at first glance. The disproportionate scale of a natural and man made objects implies a different hierarchy. When the hierarchy is changed the relationship between the objects is changed as well.

The subjects in my artwork are found during explorations of my personal heritage. In this search I discover what character traits and sensibilities have been passed down through the generations in my family, and how my own disposition has been influenced from that past. The work in Following Traces focuses on two girls; one of whom is my grandmother, Betty (Elizabeth), and the other is her sister, Babs (Barbara). They were as different in temperament as they were in appearance, and I began to understand their characteristics as well as parallels to myself through the process of recreating this imagery.