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Biography

1987 Born In Ireland

1993 – 1999 Lived in Denmark

2000 – present Lives and works in Sussex, UK.

Education

2009 – 2011 Kingston University – BA Photography

2006 – 2008 Kingston University - BA Fine Art (One year)

2005 – 2006 Northbrook College – Foundation in art & design


Solo Exhibition

2012 ‘Spring/Summer collaboration with Inge Jacobsen’, Georg Jensen stores worldwide


Group Exhibitions

2014 'Fixation' - 4th March - 13th April, The Town Hall Gallery, 360 Burwood Road, Hawthorn, Victoria, Australia

2013 Hunter and Gatti Exhibition – 19th November – 22nd November, Openhouse, Mulberry Street Space, Soho, New York City, USA

2013 'Cork Street Open Exhibition' - 9th August - 16th Aught 2013, The Gallery in Cork Street Gallery, London, UK

2013 'Inge Jacobsen' 11th May - 5th June 2013, UNIart gallery, Gothenburg, Sweden

2013 'Paper Thin', 1st Febraury - 2nd March 2013, Bearspace, London, UK

2012 'Rocke Hosen Blusen', 21 September - 28 October 2012, Munich, Germany

2012 ‘The 3rd Annual Erotic Art Exhibition & Ladies, Ladies, Ladies’ 2 June – 2 July. Parlor Galler, New Jersey, USA

2012 ‘Selling Sex’, 22 March – 1 June, SHOWstudio Shop, London, UK

2011 ‘Kingston Collective’ 5 July – 9 July, The AOP Gallery, London, UK

Awards

2013 'Director's Purchase Award', Cork Street Open Exhibition, London, UK

Commissions

2011-2012 ‘Spring/Summer 2012’ commissioned by Georg Jensen

2011 Illustrations, commissioned by NYLON Japan

2011 ‘Mixed –tape’ commissioned by Neuland+ Herzer GmbH


Collaborations

2012 Working with photographer Rebecca Thomas on a series.


MY PRACTICE


My practice is about the intervention into the photographic image, particularly those from newspapers, pornography, and high fashion magazines. I use cross-stitch and embroidery as a way to physically interact with, and altering, the image. With the over saturation of images in our world today, this is a way for me to ‘hijack’ this overwhelming consumption from the mass produced and alter it to create something unique.
Using embroidery is also a way of connecting femininity from the past with the present. My concerns as an artist are the photographic image as an object and the way women are objectified through photography. By bringing the surface of the image to the attention of the viewer, I want them to acknowledge the surface of the photograph and look at it, rather than through it, thereby seeing it as an object. By predominantly using images of women, I am linking those concepts.

I use photographs because, as a photograph captures a moment in time – a split second- each stitch captures the moments physically endured by the artist over the course of its creation.