I came to art education later in life while raising four children. It wasn’t a route I had imagined for myself, but once I began an Access course at Exeter College, I realised how important making had become to me. From there, I completed an Art Foundation at KEVICC in Totnes before studying Fine Art at Glasgow School of Art, and last year I completed my MA Fine Art at Central Saint Martins.

Coming to art later in life has shaped my practice in profound ways. My experiences of motherhood, domestic life and returning to education gave me a very different perspective. I wasn’t making work in isolation from my life, it grew directly out of it. Many of the questions I continue to explore around memory, identity, care and the domestic have their roots in those lived experiences.

My practice begins with my own experience. Through making, I seek moments of stillness and quietness, using the personal as a way of exploring wider questions of memory, identity and transformation.

It is about reflection and integration, about working things out. I return repeatedly to questions of memory and identity, exploring what it means to be an older woman, a mother, and someone trying to make sense of a world that often feels difficult to understand.

I fragment my explorations into objects, images and materials so that I can slow down and look more closely. Repetition is central to my process. Through repeated acts of making, I begin to uncover meaning, allowing each work to evolve rather than searching for a fixed conclusion.

I move freely between different materials and disciplines. The craft itself is not the destination; it is the process of making that matters. I embrace imperfections because they reveal the hand, the time and the attention invested in the work.

My work never really seems to have an end. It is about continual transformation, and perhaps that is what I hope for myself. My pieces becomes part of an ongoing conversation about memory, identity and change.