1987 Born In Ireland
1993 – 1999 Lived in Denmark
2000 – present Lives and works in Sussex, UK.
2009 – 2011 Kingston University – BA Photography
2006 – 2008 Kingston University - BA Fine Art (One year)
2005 – 2006 Northbrook College – Foundation in art & design
2012 ‘Spring/Summer collaboration with Inge Jacobsen’, Georg Jensen stores worldwide
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
2013 'Director's Purchase Award', Cork Street Open Exhibition, London, UK
2011-2012 ‘Spring/Summer 2012’ commissioned by Georg Jensen
2011 Illustrations, commissioned by NYLON Japan
2011 ‘Mixed –tape’ commissioned by Neuland+ Herzer GmbH
2012 Working with photographer Rebecca Thomas on a series.
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.