While each of my projects displayed on my website are distinct, they share a focus on, and interest in, irresolvable tensions—between animate and inanimate, organic and inorganic, nature and society.

I am deeply interested in the idea of a life practice of both artists and non-artists alike. More specifically, I’m interested in the political potential of an individual's perception within each experience, and the body as a primary—indeed inescapable—vessel for absorbing such resonating experiences. It is within perception, corporeal and conceptual both, that examples of everyday magic come to the fore. This kind of awareness or sensitivity to an individual moment of recollection or interest is at the heart of the kind of work I make. I am interested in collaborating to produce genuinely new group experiences, which sees aesthetics as deeply related to social praxis.

My current practice involves performance, installation, video, dance and text. Many of my performances are broken down into narrative segments giving them a pronounced theatrical quality. I make a point to work with amateur actors or groups of people who already have a history with one another and/or myself. The majority of my performances/installations feature women as protagonists or heroines in order to create feminist fictions. I have been writing myths and stories that combine science, technology and socialist-feminism.

Most recently I have been producing work that investigates the mind/body divide and is at once cynical and embracing of new age spirituality. I have been analysing humanity’s need to believe in something, or define ourselves against something “other”. I am also interested in when conspiracies, religions, philosophies and spiritual theories all bleed into one discourse. I am particularly fascinated by the kinds of performative hybrids that emerge from the intersections of such beliefs. I have been focusing on the body, spiritual apparatus such as healing crystals and copper meditation pyramids in juxtaposition with sound technologies and psychoacoustics embedded in these practices.

In order to highlight and translate such ideological tendencies there has been a shift towards science – specifically physics - within my work. I have performed using USB microscopes; enlarged NASA micro slides of moon rock (such as image below) and have set up at pirate radio station to transmit performances. The use of such scientific apparatus combined with new age paraphernalia allows for fictional narratives to come into being and be perceived as accurate accounts of the world. This structure also permits satire and irony to exist within the narrative infrastructure, questioning our understanding of reality and fiction, and the borders between the two.