The Hembury Hill Burial Assemblage (2021)
Nettle fibre, feathers, wool, cotton, copper, bronze, wood
This ensemble of various ritual garments was produced over several months in 2020-21. This work draws from prehistoric burial assemblages that are displayed in museums, and the way they define an absent person through the objects of their life. I am interested in the idea that material objects become part of our minds, of our wider culture- external, physical components of these otherwise immaterial things. This piece was included as part of the exhibtion Common Ground: Folklore at North Lincs Museum, Scunthorpe
Ash wood, Birch tar
Anaerobic soil conditions can preserve bog wood, or abonos, for thousands of years, such as the houses of Bronze age people that were revealed at Must farm in Cambridgeshire. Ash dieback, caused by a fungus which was accidentally introduced into the UK by humans, is projected to kill 80% of our ash trees. The sight of stands of this native tree lining the banks and hedgerows may soon be but a memory.
This house, grown like a fungus or excavated from beneath the earth, is a house of memory. Memory and last respects to the ash trees from which it was made, and a reminder that our legacy remains ever present with us, beneath our feet. It will outlast us, and sometimes, conveniently or not, may rise up to meet us.
Earth Canal (2020)
Cotton, ochre clay, steel, found objects, sound
This was installed in the basement of the Steamship Project Space, as part of Glimmering Thicket, an exhibition organised by artist collective Cloth and Sod.
Visitors were invited to take an iron nail and place it at the shrine at the end of the installation.
It included a sound piece produced by Rowan Gatherer.
Cotton, ochre clay, lampworked glass, found objects, copper cable
This was installed for the Cass Christmas show 2019. It included beads produced by melting soda-lime glass with an oxy-propane torch and combing it with found objects.
Cotton, steel, string, graphite on paper, performance
In this installation, two graphite-on-paper drawings, Skies 1 & 2 and Skies 3 & 4 were displayed facing one another. A figure was installed on the ceiling between them, including a dished and chased steel mask.
String lines conveyed the directions of the rising and setting of the sun on the solsices, converging on the central point where the observer was invited to stand.
This artwork also included a performance by the artist, who interacted with the installation wearing a corresponding steel mask.
Divine Funeral (2018)
Cotton, string, stoneware, wood
This was installed for the Cass Christmas show 2018. A branch of an oak tree was cut into small sections and arranged onto stoneware tiles, before being high-fired in the kiln. Each piece of wood left a small puddle of ash-glaze in the indentation where it had rested. The branch was then re-constructed accordingly on the floor of the installation, now converted to glass.