The relationship that we have with textiles, starting as a baby and continuing until our journey's end with the shroud, has influenced my work from the beginning.

Following the death of my sister, it was as if her clothes still contained her, baggy knees and elbows distorted to the shape of Read More...

The relationship that we have with textiles, starting as a baby and continuing until our journey's end with the shroud, has influenced my work from the beginning.

Following the death of my sister, it was as if her clothes still contained her, baggy knees and elbows distorted to the shape of her form. I wanted to prolong the memory of her by printing details of these textiles into the ceramic. By manipulating the slip-cast mould method I was able to make the ceramic look more flacid and warped like the clothes that had outlived her.

However, the lace detail had a certain tweeness about it that didn't reflect the sorrow I felt. By adding red bio resin with the ceramic a disturbing element is introduced, the cracks made the ceramic look cut as if alive.

This unsettling aesthetic and the family inclusion extend further when using feathers from my brother's domestic fowl. By combining these with lace, it is as if I wish to contain the sibling unit for longer in a more permanent object.The pieces may not function in the traditional sense, but for me the story they represent is enough.