My practice develops themes around 'the existential attitude' or disconnect between inner-self and outer-world. I am currently working on a research proposal to rethink self-representation in women's art towards understanding the 'Selfie' phenomenon and selfhood. Focusing on representations of self, in a society driven by neoliberal values and multiple social-media platforms, this practice-led project entitled Shooting Ourselves for Public Consumption, seems particularly relevant to contemporary culture and for a new aesthetics of self. Implications arising from the cultural pressure to be 'liked', with the associated consequences for wellbeing and how we judge our self and others in an 'age of perfectionism', are now emerging and beginning to be documented.
Working mainly in lens-based media, I reconsider art, embodiment and the performative process; through Phenomenology, Affect Theory and Feminism, I seek new ways of engaging with and understanding self-representation.
In Re-imagined Film Stills (2015), I appropriate mainstream film clips to explore the relationship between an original character and a projected self that appears like the original, but which is clearly other - a simulacrum. In Untitled Shadow Selfies (2016/17) I subvert the 'look at me' purpose of Selfies by making myself (subject/object/artist) an anonymous shadow. Recently, in A/part from the Earth (2017), my body became a site to interrogate the reflexive dynamics of self-representation and explore the tension between place and belonging (or not) – appearing as 'a part' of the landscape, but 'apart' from it.