The current directions and concerns in my work originated with research that centered on questions about how we store and recall memories of homes and houses. I am interested in the translation of lived experiences of houses and their contents into untouchable sites of memory. There is a cycle of occupation, of use and the final leaving of a house, the space is filled, used and emptied. I use printed
The current directions and concerns in my work originated with research that centered on questions about how we store and recall memories of homes and houses. I am interested in the translation of lived experiences of houses and their contents into untouchable sites of memory. There is a cycle of occupation, of use and the final leaving of a house, the space is filled, used and emptied. I use printed layers of glass, which I fuse, and cold work to reveal or conceal the inner space. I want to suggest the compression and preservation of experience, of the quiet moments when awareness of an experience coincides with its actual occurrence. The forms I use are representative metaphors and imagery is sourced from empty domestic spaces. The aim is to show the inner compression and layering of traces, to refer to the glimpses we get of memories at oblique angles. I am interested in the still quiet moments of static things in dying spaces and the transient light that passes through. Reading works by Daniel Miller and others, researching the construction of memory and its relationship with material objects has informed my work. Ongoing concerns with ideas of preservation, storage and the sort of archaeological excavation that happens after a death or the sorting of a houses contents continue to interest me.