I am fascinated by fragments, small pieces that remain from larger artefacts. A fragment gains greater significance when ordered with similar pieces, their cumulative message becomes more interesting and complex, with numerous tales to tell.
My inspiration is drawn from my collection of antique lace and embroidery. I develop ideas concerning their journey, through the years and across the world, their makers and the clothing itself, which had been very expensive and so was frequently cut up and remodelled.
I present my ideas predominantly in the book format. The books can be rearranged and so their tale is revealed page by page. They are small, and like the fragments they can be studied closely and so create an intimacy with the viewer. The shape of the book reflects the ideas being considered.
I use painted and printed papers embossed with stitch, together with Collagraphic prints, created from papers, threads, fabric and stitch to create the books. Rarely do I use the complete printing plate, it is cut up and rearranged, all the time getting smaller, so serving different needs over time with different meanings, like the textiles.
With my background as an embroiderer and being largely self taught as a printmaker, the integration of stitch techniques and processes into my printmaking practice is a natural progression. I feel that it is the combination of these skills gives my work its particular characteristics.
Currently I am considering the quote ‘No woman can be genteel who is not entirely flat in front’ Henry Fielding London 1751 in the play ‘Amelia’.