Statement

My practice explores the relationship between painting, craft, and domestic space, focusing on how art can extend beyond the frame and function within lived environments. I am interested in challenging hierarchies that separate fine art from decoration, especially regarding materials and processes traditionally linked to femininity and domestic labour.

Beginning with painting, my work evolves through the addition of constructed elements and textile techniques such as tufting. This enables the work to shift between image and object, disrupting the flat picture plane and adding texture, depth, and physical presence. By extending forms beyond the frame, I question its role as both a boundary and a site of control.

My research draws on contexts like the Omega Workshops and Charleston House, where distinctions between art, craft, and everyday life were purposefully blurred. These references support my interest in the domestic interior as a site of artistic production, not merely a space for display.

Material and surface are central to my practice. Through colour, texture, and repetition, I examine how decorative elements can carry conceptual significance. Tufting, in particular, allows me to engage with ideas of labour, softness, and tactility, while also referencing craft traditions.

Ultimately, my work exists at the intersection of painting, object, and environment, aiming to reposition decoration and domestic materials within contemporary fine art practice.