installation of small found object art pieces helston museum 2013
Une centaine de.., installation of over 100 small pieces, Helston Museum Gallery, 2013

Objets-Textes was a research project that explored our relationship to objects and stories. From 2008-2014 I made hundreds of small assemblages from found objects and combined them with writing to explore the potential of collaged meaning to convey our stories.

Work was shown at the RWA Bristol (2009), Helston Museum Gallery (2013), Kestle Barton (2014)


assemblage of small object with paint

Assemblage works use materials that are found and have a resonance at that moment via combination and collage. Removing the separateness of things in play reveals their familiar and haptic potential. Writing on things begins a series of dialogues between symbol, sign, signifier and self, creating worlds of possibilities. The relationship between human subjects and objects is mutually constitutive. Exploring ways in which the material itself may enunciate meaning and metaphor in combination with writing continues to explore embodiment and performance in new ways.

Abeille-Mere, assemblage, found objects and paint, 20x34x6cm, 2010


art project

Using writing in combination with things that can be interpreted universally creates a paradox of particularity and indeterminate meaning. Dinggedichte  are thing poems, they inter-animate adding semantic, structural and aesthetic densities which explore women, objects, theory and dialogues between.

More writing on http://objets-textes.blogspot.com/

Sisters, 4 mocasin shoes & text, 60x50x6cm, 2008



art work

Loss, sculpture installation at Negate Nothing, Custard Factory, 1998

These pieces of my children’s clothing from 1986-1990 were hoarded along with diary entries. Then in 1998, diary entries were transcribed onto the clothing and preserved. Salt, latex and resins were used with different text media to preserve the items of clothing like documents – or parchments.

Loss dealt with time, history, memory and forgetting  – and cultural discourses about mother-child relationships, as well as my growing interest in writing on objects.

Like the past, many of  the excerpts are illegible, blurred and buried by the latex. Uninterpretable, the past cannot be duly represented or captured, yet tenderness not nostalgia is strangely preserved. These works 16 years later, seem more beautiful than ever, and represent mother’s relationships with time, criticism, and selfhood.

Loss iii, latex, clothing, diary writing, 70x65x3cm, 1998