An ongoing record of works made.
I work with natural fibres and textile waste, weaving and hand-piecing through slow processes that let cloth hold its own history:
of agriculture, labour, touch, time and transformation. Each body of work is a period of thinking, some ongoing, some closed.
Many pieces are in private collections, some have been shown, and a few remain available.
Together they are the ground the current work stands on, and a starting point for commissions.
A series of hand-pieced textile works created from vintage and discarded fabrics. Each fragment is approached intuitively, with material qualities such as texture, weight, colour, and history guiding their placement.
Through processes of cutting, layering, and reassembly, the works explore how meaning can emerge through relation. Fragments are held in new configurations, allowing traces of their previous lives to remain visible while forming part of a new whole.
Balancing structure and openness, these compositions consider how value can shift through attention, and how acts of gathering and arrangement can become a form of care.
A series of handwoven tapestries created from textile waste, reprocessed into new yarn. Through this material transformation, the works engage with cycles of use, desire, and disposal embedded within cloth.
The accumulation of fibres begins to echo geological processes, where layers are built over time, compressed, and reformed. In this way, the tapestries move between human and geological timescales, holding both immediacy and duration.
Maintaining an intimate tactile presence, the works offer a quiet reflection on material memory, transformation, and the traces of human engagement carried within fibre.
A collection of handwoven panels crafted from handspun and hand-dyed mohair, wool, silk, and cotton. Presented as framed textile fields, the works emphasise containment, surface, and subtle variation.
Drawing on the language of abstraction, they explore how reduced form can hold depth and resonance. Colour, texture, and fibre interact in quiet shifts, inviting a slower way of looking.
Each panel becomes a space of attunement, where material presence is foregrounded and a sense of calm, grounding, and stillness can emerge.
These handwoven works arise through an intuitive engagement with natural animal fibres, primarily wool and mohair. Each piece unfolds through the rhythm of weaving, allowing material, hand, and process to remain closely connected.
Freely suspended, the tapestries retain a sense of movement and openness. They subtly reference the landscapes from which the fibres originate, holding a relationship between land, body, and making.
The works are meditations on presence, material responsiveness, and the quiet dialogue between structure and flow.
A series of handwoven tapestries created using natural plant fibres, including cotton, ilala palm, and vintage linen yarn.
Free-hanging and lightweight, the works emphasise softness, breath, and permeability. The inherent qualities of plant fibres guide the form, allowing subtle irregularities and variations to remain visible.
These pieces reflect on material integrity and the quieter, more yielding aspects of structure, offering a gentle exploration of balance, fragility, and resilience.
The warming months bring with them an invitation of sorts back into our bodies. A renegotiation of our boundaries, layers, routines, and how we inhabit our nests. A time for spring cleaning, shedding, uncovering, rediscovering.
This season has unearthed a sense of quiet nostalgia, old materials, precious
pieces gathered, held onto, brought together anew and re-imagined into new realities.
Missing the mornings of rising with the birds, I open my eyes into the clarity of the day. Opportunities abound, fueled by the light and in response to the question, to what shall I tend, I turn to poems:
“Maybe our job is that of the birds,
simply to collect the soft things of the world and sing about it.”
- Quinn Bailey
The Winter has been a season of depth.
A quietening, turning inwards, both mentally and physically.
It is a season of comfort, of seeking tactile pleasure: the need to keep warm and create protection for the body against the harshness outdoors.
This winter I have been surprised by the depth of the joy I have found in colour. A red velvet as effective as a roaring fire, and a fuchsia cardigan sparking an undeniable and irrepressible grin, the deep saturation of a sunrise over a misty lake which turns icy blues sumptuous and abundant.
In the studio I have returned to the loom, finding joy, pleasure and a sense of unbound expansion in the luscious texture and colour handspun mohair.
As the season shifts into that of exterior blooming, it feels like the perfect time to release the collection. It is one, above all else, of joy.
May our joy be contagious.
Holding Patterns is a body of work shaped by the idea of the container: the frame, the edge, the boundary that allows something to be held.
Developed over the period of a self-imposed container, this collection became a way of working with attention: gathering materials, working on several ideas simultaneously and allowing patterns to emerge and speak to one another. The works function as abstract compositions and as capsules, holding processes of care, thought and intentional refinement.
