Thinking, reflecting, talking about the marks people make on the world. We cannot find a consensus on what the word world means for each and everyone inhabiting it; therefore I can only speak about my world. In my work I analyse my surroundings and make reference to the ordinary, the overlooked or the buried beneath the shell of a human body. Whilst my work consists of chapter like narratives they form a curated whole of what I understand to be my milieu. I view my paintings not as single instances but as a diary connecting days and paintings alike. In an attempt to decipher what is happening around me I focus on questioning each participant’s role in my chapters, trying to understand their motives and give them the visual space for an invented reasoning behind their behaviour. In an obsessive endeavour to understand myself I have turned to art and allowed painting to create a space, in which I can recreate instances, to cherish, grasp and relive the lost moments, which fade into memories. As they fade, so do the details and in an act of acceptance to the functioning of my brain I embrace the incompleteness of my paintings. Standing alone.


Since I understand my practice to fluctuate between painting and drawing I like the notion of showing the support in an act of questioning its status. This further allows for the paintings to become part of the wall and eradicate terms such as foreground, middle ground and background. The picture plane expands and allows for layering and connecting writing, paintings and sculptures.

Through un-stretching the works I lay bare the lines and creases created through the act of stretching. The, over time, disappearing lines simultaneously reference the fading of the memories and the history of painting.


As a woman I am faced with the firm grip of the patriarchy. Challenging and questioning terms such as feminine, soft, nice or cute are of great concern to me. My use of material is inspired by the preconceptions of what a male or female material is. Not accepting the rift I force them together. The tension between the fabric, concrete and copper creates a space to discuss these stereotypes.

In addition to the above mentioned concerns the pipes allow me to visually tie the narrative going through the works together and act as a visual guide. As the materials can all be considered to be used in building a home the term ‘constructing’ has become a key idea in the subject of my work as well as in its execution. Constructing a world.