There are many ways to show you who I am.
My drawing and photography practices explore multiple narratives, reflecting the perspective of being a twin: always together, yet always separate. My internal narrative connects my current and past selves; the things I remember and the quite different things my family photographs tell me. I’m interested in the role of memory and particularly the role of forgetting in the stories we make out of our lives, stories we construct and re-construct repeatedly. The story of my life is constantly expanding to incorporate new experiences and new interpretations of old experiences.
The way I work is imbued with forgetfulness, circling round again and again to the ideas that I’m drawn to: how the episodes in our life-stories are connected; how our interpretation of events changes as we grow older; how we can create new stories for ourselves.
Returning to my textile practice in 2019, I realised that the way I make felt is intrinsically a process of construction and reconstruction. The work embodies the outcome of that process. I have begun to consider the potential for transformation, not only of the materials, but the memories and meanings they hold.
During the work for my MA at Wimbledon, one of the things I kept forgetting and re-membering was that I had studied archaeology for my first degree. I see my work as a site to be interpreted. I am creating a history of myself from signs, traces, juxtapositions and interpretations – a history without words, a history that is constantly renewed.