Exploring the goddess theory, the primitive psyche and the psychogeography of a place that has both a history and memory I have a connection with, these works are a series of digital images of my face and/or a mannequin dressed with snakes, bird wings and masks that are fused with the ancient land of Avebury and Salisbury plain. 

The Mimetolith of Avebury I (2018)
The Mimetolith of Avebury II (2018)
Return of the Native, on Salisbury Plain (2018)
Sacred Woods (Salisbury Plain) 2018


Collecting taxidermy snakes and various images of snakes that have been x-rayed with objects inside them, my research of the Goddess and ancient stories of The Oracle – the high priestess of the Temple of Apollo at Delphi (also known as the Pythia which relates to the python snake Apollo slew) was a starting point for these paintings. Fusing a human heart at the centre of the snake outer form which has a skeletal appearance.

All paintings are made with charcoal, pastel and oil crayons, acrylic and spray paint on gesso primed canvas. 

Four Chambered Heart (2018)
120 x 100 cm
The Hunter (2018)
90 x 70 cm
Arousal of the Kundalini II (2018)
Arousal of the Kundalini II (2018)
100 x 80 cm
Arousal of the Kundalini I (2018)
Arousal of the Kundalini I (2018)
100 x 80 cm
Goddess (2018) 80cm x 100cm
100 x 80 cm


Hybrids of infamous muses and mythical creatures, these ambiguous portraits with their empty eyes and translucent, cellular bodies, are a reflection of ourselves in the form of carnivalesque demons, animals and goddesses. This new series, The Muse is Exhausted, explores the relationship of the gaze and the gaze turned in on itself and to the primordial goddesses of myth and imagination. In a world preoccupied with the communication of self and image and a culture of looking and being seen, these portraits pose existentialist questions of who and what we are.

All paintings made with charcoal, pastel, acrylic and spray paint on gesso primed canvas. Maud is painted on 300 gsm Saunders Waterford paper. Sizing – figures: 120 x 150cm and portraits: 60 x 70 cm.


This existential body of work centres on the transformation of life form, creating a sense of visual intrigue and material presence. The physicality and expansion of scale take on a metamorphic quality that occupies an ambiguous space – fragile, transient, ethereal. The polarities between consciousness and unconsciousness; memory and ambiguity; self and other; death and rebirth (although the dialogue has a personal narrative) has universal significance.


You Never Stop Swimming and the Peekaboo series are a series of drawings and paintings where the same or similar images are drawn again and again with charcoal, acrylic and various spray paints and varnishes. The repetition of image, scale and dimension creates a sense of visual intrigue and material presence, the objective is to entice the viewer to stop and take in the work at a pared-down pace.

The tension between light and dark, form and matter and the image pushing out from the boundaries of the surface are important qualities to this series. The layers are built up over time and the mark making is hard, soft, feathery, pitted, dense and translucent. The palette is monochromatic and simplified to focus purely on the image structure which starts its journey from a series of photos observed and taken directly from my own body. Pencil and charcoal studies are drawn initially from the images until I isolate and hone in on the form chosen to scale up.

These paintings are ambiguous, faceless and anonymous; the concentration is on the pelvis, hips and legs. They are seductive and meant to tease, subvert and celebrate the female form, developing a dialogue with the patriarchal history of the ‘female nude’. The geometry of a woman’s body is a metaphor for a landscape, which has been formed by millions of years a geological metamorphosis and in these works, the imagery takes on a perspective as a language of body and landscape. However, the square format defies the interpretation of a landscape, the boxing in creates a further tension of wanting to break free. Questions are asked if these works are representative of sections of a woman’s body or by analogy, they relate and become part of our imaginative experience.


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