ARTISTS TALKING

Her installations are wonderfully unreliable experiments, made as a response to the specifics of a proferred site, imbuing the physical properties of the space with a sense of change, as materials such as chocolate, ice and flowers grow, decay or melt.

My work has consistently been concerned with place, time, life, decay, death, beauty and renewal. I am not a studio-based artist with a pre-determined project to complete; rather the materials I choose – and the form they take – are triggered by the experience of the site. This site specificity is more than just an architectural response to a space – a successful work 'fills the gaps', articulates that which I feel unable to put into words. The desire to induce physical or emotional reaction also demands the actual presence of the viewer, to experience first hand the heat, smell, texture and context as a total reading. The sensuality of the work not necessarily expected – should invite and allow for an intimate experience. We experience so much of the world at a mediated and sanitised distance, so I try to make art that is not complicit with this structure. The works mostly exist for a moment in time, and then, maybe, in memory. Materials are discarded. As such, documentation can in no way describe or replace them. The viewer brings his or her own subjective histories to the work, thereby completing it. In this sense my work is theatrical; the audience is part of the equation. I hope that these interventions function on different levels, that they are generous and not exclusive. I do not see myself solely as the author. Often, invisible yet crucial stories and events are woven into the fabric, determining what material I may use or where I might place it. Although it is possible to anticipate a situation, I am often surprised by the actual experience of it. Things are fluid and can change and so does my work. What interests me is the performance between myself and the material and being alive to the particularities of each individual opportunity.