'A lot of the work I make derives from places I have visited. Thought these trips are often in the past, they remain relevant ground for the work' she says  'in some ways the work is quite personal, becoming a mother has shifted my perspective, things from my own childhood have resurfaced, patterns, stories, and imaginings. And the trips that I reference, of places I have visited are full of memories also. And yet the work is ambiguous, the landscapes belong to no specific place and the figures draw from different eras and references, often simplified and reinterpreted to become symbolic figures as opposed to belonging to my own personal world. I often hope to take what starts as an image from my own experience and make it something more universal, where others can attach their own interpretations and memories.'

 'When I saw a cousin of mine lying on the grass in the heat of last summer, I was taken with how poised, perfectly captured and timeless this outline of a figure was, as if she was a serene illustration from a fairy-tale. And as with all good fairy tales there should be a blend of beauty and with a darker edge - was she sleeping, simply resting, or sleeping a deep sound sleep from which she may never awake? 

I wanted to lay her into a landscape that was floating; the white surrounding her could be sand or snow. I once visited the Salt Flats of Bolivia and I loved how Heaven-like the white salt seemed, how perfect and untouched and miraculous. I wanted to create a similar sort of terrain. Her shadow is the under painting 'ground' colour of the canvas, so from a painting process point of view she hovers somewhere in the plains of paint. '