In my work I’m interested in representing a cerebral relationship to clothing. I’m interested in how clothing and objects can be deployed as feminist strategies of solidarity, support and protection. Some of my sculptures can be worn as headdresses and others are made from ceramic and are impossible to inhabit as garments, but suggest a relationship with the body which is stiff and uncomfortable. A kind of constrictive support-structure for the body.
My sculptures seek to highlight the politicised and threatened nature of female bodies, both socially and historically. They also relate to how I view my own body as something beautiful and capable, but also unruly and treacherous.
I think of the female waist as the center of strength for the whole body, and women’s shape-wear, support-underwear and corsets influence my work a lot. I like how these items have the potential of giving the wearer a choice to sculpt their own waist and shape, yet how this can create something perverse and abject when taken to an extreme. The potential of sculpting one’s own body can be viewed as an act of self-objectification, and through this achieve a sense of self-possession.
Veils appear in my work often. Veils illustrate the political nature of a woman’s freedom to conceal or reveal her body. They are symbols of sublimity and femininity but they also refer to a patriarchal system, I’m interested in exploring this tangled association.
In my sculptures there is interplay between ‘the revealed’ and ‘the concealed’, in some of them clay veils conceal the openings of urn-like vases, and in others a hoofed foot is concealed by terracotta, and rebelliously peaks out.
In my films I explore ways in which materials can be used in a simple way to achieve a transformation. In one film a sheet of wet kitchen roll becomes a veil, and in another, a hot water bottle is made into a soft sculpture, which can be used to calm menstrual cramps. When placed on the abdomen of the viewer it feels warm and soft, like holding a pet.