Artist's Statement:

The concept of “Eve” is a holding space, generated by multiple cultures to contain ideas around being ‘female’. I am critical of the patriarchal values of society and the disasters it leaves as in its destructive trajectory; therefore, my work considers a matriarchal vision for a sustainable society.

The painting, You must let it find you (2026),  first exhibited at White River Gallery, was reworked for the exhibition Eve-song at UP 2-1 Gallery. The painting includes, amongst others, images of a forest saturated with eyes in various states of awareness. In everyday language we understand 'eyes' to suggest dimensions of sight – the windows of the soul, wisdom, reflection or emotion. This painting presents eyes cast in shadow, the mediators between the world within us and the world without. Wagoner’s poem concludes with “The forest knows / Where you are. You must let it find you”, suggesting an alternative understanding of time, and in my painting a figure patiently rests in an unsettled space.

My artworks on “What Remains” are slithers of a bigger story. Each image shows a measure of disruption to suggest the gradual wear of time in blemishes and stains. A brush, a tent and a rock are amongst the singular ‘figures’ with unique characteristics, proposing a history existing in blue-grey worlds. Painted with liquid washes, the technical application allows for flow and accidental traces of movement of the watery media.

The organic worlds of Lost Faces, as well as George and the Seductive Dragon, challenge our ability to see beyond our time and to appreciate myths and stories of other worlds: the crowd in Lost Faces, inspired by faded tapestry, recalls the marketplace long forgotten, whilst the legend of St George speaks of the struggle between good and evil but continues to be of relevance in contemporary narratives where the hero is most often tasked to ‘slay the dragon’. Thus, we carry remnants of history with us in contemporary times, even though we have limited insight into the context and seldom grasp its roots.

The reconstruction through collage or fragments of leftover paint suggests that the material carries a clue to the stories they tell, even as they fall apart. “What Remains” recalls loss and disruption and suggests a narrative of unfolding events – a relationship, followed by an incident that left all with a memory that stays. Should we write these tales down, the shape of their letters carries its own coded messages. The objects I choose to draw, or paint, acknowledge that the stories we tell can only be offered as partial information. As fragments, the works melancholically communicate ideas about lost ties with people and places.