My practice adopts essentially painterly approaches to exploring the thematics    
         of the inscribed and scarified self; the marked being. Visually, I am looking  at 
         remains and persistence, signifiers of aftermath, the interwoven energies of 
         destruction and reconstitution. Working within the bounded frame of the canvas    
         and using inks, wax,, threads, household paints and other materials of inscription,    
         I explore both philosophical and political themes. 

      My black-white works are exploring my cultural identity as an immigrant from a 
         colonizing culture. Issues of neo-colonialism provide questions of co-existence    
         ethics for me, these being particularly challenging because of my personal heritage.    
         As a survivor of childhood abuse, I deny personal affinity with my people yet sit 
         within a country that has been culturally raped by the same race. I am a  woman 
         without a place, a constructed identity of aftermath which reflects the aftermath of 
         my new homeland.

   I have investigated child fairy stories to challenge the inscribed identity of aftermath, 
         particularly the complexities of Little Red Riding Hood. My later works explore issues 
         of emerging female sexual identity as a personal, gendered  and historically narrated 
         construction. The fight between the passion of the desires and the death of the self in 
         sexual identity contrasts with the conflicts  in making sense of my cultural placement 
         from a colonial inheritance – I carry the sins of the cultural rapist whilst trying to 
         negotiate a female sexual abuse survivor identity in context. I am a violated woman 
         of the aftermath, alienated in self and place, and my works deconstruct the literary, 
         cultural and universal iconography of this.
        
       Artist profile // Artists Gallery // Artists Website // Creative Writing // Artists Index