First Sighting (2010)

An exploration of pregnancy, labour and the process of becoming a mother and seeing the world through new eyes. *142/146* are the heart rates of the twins that this woman carried while*19% – 99%* is the measurement of pain allocated to each contraction. The painting is split in half by the linea nigra just the ...

Sees (2012)

People will see what they want to see about a particular situation. The bold lines represent the clarity of mind of the person being observed and judged through the mess/confusion that people see, cluster and gossip about. Acrylic on canvas, newspaper print and charcoal.

Bottomless Nest (2012)

A woman lies beside the man she loves, longing to carry his child, separated by what feels like a sea between her undulating hips and the mountainous silhouette of his body lying next to hers. The first of a series of three paintings inspired by artwork by Keith Haring and Michael Soi. Acrylic on canvas ...

1-2-3 Web (2012)

A dark cloud looms over a union. The union is split over a strike to the heart creating a web of three. This messy web leads to pain and bleeding. Two lines along the edge of the canvas represent the emergence of a new union of two. Acrylic on canvas with newspaper print.

Coffee Conversations (2013)

It is in coffee houses that many revolutions have been sparked off. The conversation around a cup of coffee shared between open minds provides opportunity for mass action based on ideals and projections of what the future must become. “Coffee fuelled the information exchanges of the 17th and 18th centuries” The headlines ...

Unrest (2012)

A depiction of the experience of flight by refugees in Eastleigh, Kakuma and Dadaab as told to the artist. This flight is from a place one knows to an unknown destination and the perception of self in surreality. The white outlines represent the individual seeing themselves in a situation that they don’t understand and the ...

Listen to the Youth (2012)

A discussion on the “Arab Spring” and its origins with specific reference to the fall of Colonel Muammar al-Gaddafi in Libya at the hands of “youth.” This painting follows on the implication of Western influence on the capture and killing of Colonel Gaddafi. The white lines at the bottom of the painting represent the ...