image of studio with paintings

Paintings in the studio, May 2020

There are a number of projects in which bitumen is used to create layers of text and form on a grand scale. These large paintings often make reference to historical subjects and aggregate experiments using sculptural form, grandiose idiom, and vernacular imagery.


painting of a woman who has lost a child and is crouched with blood

Ticking Clock, 150x120cm, bitumen and oil on canvas.

Empathy Circuit.

Painting can explore new ways of thinking about identity and multiplicity. Through the interplay of sculptural, historical and monumental reference to bodily form and its fragmentation, it is possible to posit gendered fluidity in lived experience and embodied self, even through birth, change and process. Empathy Circuit was a series of large paintings that used stories contributed from women to make large scale text and image canvases.



Many are for sale: very large paintings from £2500

Mummy Dearest, 130x15x3cm


RED-dress mummies are a series of large paintings that use  the strange juxtaposition in language of ‘mummy’ meaning mother and mummification. Anachronistically red dresses are added to bring them to life and honour and value, rather than idolize and denigrate real life mummies (mothers).

‘Why do the English have the same word for a swaddled corpse and cuddly maternity?’ AS Byatt

In every culture there are taboos about motherhood. Constraints that contain and hold motherhood in ideality, and make her less human. Recent discovery of tattoos on the dessicated skin of mummies and their close examination has brought new knowledge of possibilities of how they lived in life. We are drawn to something very mortal about ancient mummies despite the immortality they have attained. It at once deifies and reifies them. The respect they have attained in death probably did not reflect how they were treated in life. I want to ask questions about how we treat mothers/mummies in Western societies.