My practice is centred around themes of routine and household tasks as I attempt to deconstruct the mythological figure of the artist. Using processes and materials traditionally associated with feminine labour such as embroidery and the typewriter, I aim to shine light on aspects of more traditional work connected to an artist’s practice. As well as using materials more commonly tied to labour, I focus on the unseen or hidden aspects of creative production in order to unpack the myths of divine inspiration within artistic practice. By doing so, my goal is to address the political concerns that arise from ideas of the myths of creativity, which often turn art into an elitist and inaccessible practice.

In the studio, I am led by process rather than outcome as I try to achieve a meditative state through the production of works. What matters most is not the final work, but the detritus that is left behind by the journey towards completion. Alongside an investigation into the routine of studio practice, the theme of artistic waste forms a key aspect of my investigation as a way of renegotiating the artist’s value in our current cultural climate and improving the collective understanding of what artistic work means.

In my work, I use the device of the archive in order to collect and present the detritus of the creative process. By positioning the artist as the subject of practice in an investigation into the relationship between biography and artwork, I aim to question the importance of physical and economic limitations on creative practices, and negotiate the impact of these on our understanding.