top of page
new work (please see front page for most recent updates!)

2018 / torso images / birth / monoprints / carbon black printing ink from copper plate onto 100% cotton paper

Recent studio work / April 2018
Recent studio work / April 2018
press to zoom
press to zoom
press to zoom
press to zoom
press to zoom
press to zoom

Work continues on figures of female form:



The body conceived of as conceiving.


A body work marking (paper) - documenting gesture.


Body as movement and energy - the intention of the rendition.


Form marked on copper to mirrored on paper.


Smudges, marks and line arriving as image.


As interface.

And fate. Again.


Chance and circumstance. And skill.

The body sings. The body is silent.


Dissappearance and apperance mingling in dance.


Poetic stance. Philosophy.


Feeling the visceral impacts and its double bind.


An ecco and its double, manyfold.


Body as script. 

With a unique unheard sigh.

A rendition, an imprint.


Shadows cast and manifest. Memory.


Like death.

We feel. We have faith.  

Gestation. Birth.

2018 / body as sensory form end expression (female) / body as tactile reproduktion (from him to me, from 3D form to 2D drawing) / drawing from bronze figurines by Degas at Glyptoteket in Copenhagen

press to zoom
press to zoom
press to zoom
press to zoom
press to zoom
Degas' bronzes - Glyptoteket, Cph
Degas' bronzes - Glyptoteket, Cph
press to zoom

Degas bronzes - pencil on paper - Glyptoteket, Copenhagen

Work continues on figures of female form:




The body conceived as line.


A body marked (on paper) - documented.


Body as time - the time of the rendition.


Form attached to paper, to shape, to confined space.

Arriving as image. As mark.



Perception. Ability to copy, to document.

Defined by this. The eye, the hand.


Body as line. As mark. And fate. Again.



The body sings. Body song. Harmony?


Flight. Season. Movement. Lines attached to each other, one after the other. Onto oneanother. 


Mass. Energy. Gravity.


Feeling palms of hands against the body, fingers. 

Body as gesture. 

With a voice.

A rendition, an impression. Body as impression, as imprint. Line.


Like the remains of fruit rotted into the ground.

We believe. We understand what we draw.

Females without faces.

(Limbs spell balance)

2017 / body as portrait / body as pod (representation, containter and protector of seed) / Seed pods as history, as time / body as face / looking for (a way) home, for a truer narrative, for a recognisable history

press to zoom
press to zoom
press to zoom
press to zoom
press to zoom
press to zoom

The body conceived as identity.


A body marked as recognisable features (on paper) - documented, like a map - lines on paper - expressing dimensions and distances - high ground and low ground.


Body as a map - the face of time passed.


A shape confined in time and space.

Arriving as image. As mark organised as language - a shared system.


Identity as interface.

Perception. Recognition. Ability to copy, to reproducer, to utilise, to use.

Line as fate, as possibility.



The face sings.


Feeling palms of hands against the face, fingers entering. The tongue dancing, eyes falling back.

Expression as gesture. 

Without a voice. The silent image. 

An impression. A vista, a view. 


We believe we understand what we (can) see.

Faces without identity.

(Mirror spells imagery - imagination?)

Portraits and faces / ink and gouache + linoprint and water colour on paper 

2016-2017 / Body as Interface

View more images from this series here >>


Work continues on figure of female torso:





The body suspended.


A body floating.


Body in time.


Body through time, time attached to the world through variable body parts, skin of my stomach, a female torso transgressing visual identity, a web of sensory information, floating through memory, suspended, fighting floating fleeing (?) through language, arriving by membership, by fate, by chance.


Arriving as image.




Intervention. Interim.


History intervening.





The invention of a Universe. 

Body as nature. Nature of body. Words. Molecules. More words. More molecules. And fate. Again.


Poison. Circumstance.

Listen to the environment. Listen to the circumstance. The body sings.


Body songs.

Who are we to listen?


Flight. Season. Movement of planets. The planets themselves. Apples falling to the ground in orchards. Molecules attached to each other, one after the other. On another. 


Mass. Energy. Violence. 


Biology. Faith. Community.


Feeling the palms of your hands against my body. 



Body as entity. Devoid of limbs. Of gesture. Language.

With a voice.

Of its own. A shape. Like a fruit.


A body of flesh we give a name.

We believe. We understand what we speak.


Females without faces.

Females without traces.

(Limbs spell mobility.)

2015-2016 / Tents Boats Bodies / Dreaming Drowning Body Time


Ongoing series on paper begun january 2016 using various formats with graphite pencil, gouache and water colour. 


Looking at ways to investigate and come to terms with various here and now cultural phenomena of the female body through various emotional, biological and philosophical overlaps and collissions.

  • Attacks on female bodies in Köln, New Years Eve 2015/2016. 

  • Mexico City's problem and subsequent coining of term 'femicides' (rather than 'homocides') where murderers specifically taget women.

  • FGM in countries across Asia and Africa.

  • Threats of rape directed towards women who speak out on feminist issues online.

  • Refugees fleeing the war in Syria, bodies continually drowning in the Mediterranean sea, of which most belong to women: They haven’t ever learnt to swim, are carrying and protecting children, are wearing impractical clothes, are often packed below deck in the larger boats.

  • My menopausal body (female, woman, mother, daughter, wife) bringing new questions of fertility, history, mortality and sexuality to the fore.

  • My daughters becoming women, growing up, becoming fully independent, marked specifically by my eldest leaving home in 2015.

  • Repetitive scribing and marking of line, form and colour. Making use of

  • Drawing the same 'image' again and again.

  • Trying to document what is shared, the body of unity, emblem of humanity.

  • Trying to 'know' or 'hold' amounts of disparate information about issues that concern me deeply, privately and collectively.



Some thoughts on this work so far:

Body as displacement and history

Formally the work investigates sensory visual tensions through a process of serial repetition. The obvious inscribing and marking of line and detail onto clearly defined forms, through choice of colour and contrast, maps out a system of ‘meaning’, with lineal grids, crossing or merging of gestural lines, articulated both intently and intuitively.


The body/form plays the role of restless nebula: an unfixed entity oscillating and retrieving sensory data through both decided and chance choices and actions. The image is posture and gesture, position and language, specific identifiable object and visual communication, the subject of recognition and scrutiny.



Body as circumstance and transformation 


To link disparate objects (formally, materially and thematically) within a process of difference and repetition is to create productive, intensive differentiation. To bring  disparate elements together is to allow for the possibility of something else to emerge, it is to validate transformation. It is drama, a theatre of circumstances.


After the initial encounter there is a crossing, a new level of reciprocity released holding new codes for individuation systems, each demanding their own means of specification but simultaneously operating within a system of signs fundamentally disparate and heterogeneous, creating or generating both further individuation and more difference.


Body as territory and individuality 


The work makes use of a specific set of collective visual protocols, representing both craft and ideas of visual art, while at the same time adhering to a singular individuality (mine), the force of (my) initiation, the sequences of choices and action within the execution of the work, my body (hand-eye-mind coordination and perception).

Ideas of territorialisation as complex serial investigation, where rhythm, the process of difference and repetition, is understood in itself as a process of individuation, creating and facilitating desire, a desire of another kind.

Body as hybrid and skill


A hybrid of sensory knowledge and expression held within memory and language, but also through acquired skills of expression, come together within the body, within the work. Art as hybrid of body and sign.


Human artefact as both material, corporeal, spiritual and philosphical diagram of the correlation of the individual and the universal, an active technology in and of itself, able to activate seperate meaning apart from the hand, eye, body, mind that created it.




View more images from this series here >>

bottom of page