The link between materials, processes and meaning is at the heart of my research. In my multi-disciplinary practice, familiar objects, and the matter that constitutes them, are taken out of their usual context to reflect upon their deeper associations: long braided hair to discuss issues of control; a bunch of parsley to deal with reproductive rights and intergenerational trauma; laundry soap to consider the insidious nature of gender role structures; broken glass to portray domestic abuse; and so on…

Informed by Roland Barthes’ theory on myths as ideologies, and by Marina Warner’s studies on fairy tales and symbols, my work aims at unearthing preconceived ideas about reality, observing the nexus between materiality and meaning from a feminist perspective. Fuelled by personal experiences that relate to broader socio-political issues, my practice often deals with matters of patriarchal control and injustice, promoting repair and interconnectedness. I am inspired by artists such as Louise Bourgeois, Mona Hatoum, Kathy Wilkes and Doris Salcedo.

I explore materials and ideas through a theoretical framework and a variety of art processes that usually involve glassmaking in parallel with direct engagement with the material I am investigating. Process is fundamental in my practice. I am fascinated by the alchemy of transferring thoughts onto materials through making, transforming the art object into the embodiment of inner states, lived experiences and ideas. I am my work is influenced by the aesthetic of Arte Povera, Minimalist and Post-Minimalism.

I often invite participation, whether by creating immersive site-specific work with an active viewer, or by organising socially engaged projects so that the work is either made or altered by people’s participation. With my artwork I aspire to find common threads among people’s experiences across time and cultures, focussing on interconnectedness as a powerful reflection on the human condition.