A selection of images shown in exhibitions over a period since 1995

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Prana Gold 2004

One of three pieces expressing breath. Here Japanese Urishi a natural laquer is coated onto teased out nonwoven. This is combined with and fused to copper plated metallic fabric frequently used for saris.

Time Reveals 2003

Artists at Work New Technology in Textile and Fibre Art. At Prato Italy Melted turquoise polypropylene fibres formed around a metal sphere. As the fibres cool, they harden. The sphere is removed and the fibres maintain their original form. The five spheres portray wrapped space and time. They are partially electroplated copper, then patinated.

Amalgam 2002

A solo exhibition at Rochester Art Gallery in Kent. The work for this exhibition evolved from my time at a symposium in Friedrichshöhe, Germany, 1994. Our brief was to create art on the hillside from items found locally. I found some tiny damaged porcelain dolls in the forest. Vulnerable and fragile, they were aesthetically seductive while evoking disturbing images of mass graves. Historical research/ oral testimony revealed that a local porcelain factory was destroyed by fire in 1900 and the doll-painter outworkers dumped the residue in the forest, where it soon became buried. I discovered they were called ‘Frozen Charlottes’, a name taken from a popular ballad of the 1850s lamenting Charlotte’s death after riding to a New Year’s Eve ball with her sweetheart in a sleigh, having refused to wrap up warm. I constructed a series of panels each subtly different in bas-relief which featured a flawed porcelain doll enmeshed in conductive fibres, later metallised, designed to echo its environmental origin. I adapted passivation techniques originally designed for industrial engineering. The work was reflective, poignant and my tribute to an artist who was present when I found the dolls, but died the same year as the exhibition.

‘Passivation’ 2002

Dashwood Gallery Hall Place and Gardens Bexley. Vessels-celebrating the Difference. The vessels were made as a metaphor for the family. They share the same beginnings, but time intervenes contributing to a gradual transformation in the patination of the boundaries, whilst still containing their essential truth. Each vessel is crafted from the same positive/negative mould. The fabric is a nonwoven designed for water filtration. It was made conductive then electroplated zinc and finally passivated.

Tea Set 2000

SLIPSTITCH new concepts in knitting at The Dutch Textile Museum Tilburg The Netherlands. Machine knitted polypropylene thread moulded into shape by heat, made conductive and finally electro-plated.

Gold Decay 1998

'New Work' - The Museum of Arts and Crafts, Itami Hyogo, Japan. Knitting with Grilon yarn and acrylic which respond to different degrees with heat enabling the work to stretch and distort. Electroplated zinc and patinated.

‘Passage’ 1998

This formed part of an exhibition curated by Lesley Millar called REVELATION textile artists addressing issues. It is one of five distressed infant figures representing loss, vulnerability and retarded opportunities.

Hatching 1995

This was an example of early work shown at the RCA and created for a series titled ‘wrapping space’. Here a stone has been wrapped in fabrics, fused by heat made conductive then electroplated copper and patinated.
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