Class is at the forefront of my research. Using the pre-conceived feeling of nostalgia, I engage critically with my own romanticism of a pre-millennium past. With source material set between the 1950s and 1980s, I focus on political parallels and juxtaposition to the present day. In my current project, “The Mill, " I explore the feeling experienced living in a predominantly working-class area surrounded by abandoned mills that once was known for silk-making. In the film “Fordism”, I collaborate with northern working-class “non-artists”, asking them to explore the societal effects of a post-industrial society. My role then mirrors the factory, turning the footage into repetitive and unnatural colour schemes. I am easily replaceable – a critique of society’s view of the worker.
Prioritising concept over medium, my practice often incorporates painting, projection mapping, installation, film-making and poetry. I select the medium based on relevance to meaning. Curation and my art practice are inextricably linked using the multi-sensory installation.
My research is in the media of multisensory domestic installation. My paintings, film work and poetry become `props`: a collaboration with the audience to physically interact and immerse themselves in my active research. My practice has strong tones of social justice, as art cannot escape the political and, for me, can act as tools of challenging socio-economic norms.