Fleeting memories are the foundation of my practice, reminiscent of synesthesia, feeling the sun and wind and smelling the sea air. I weave sea and mountain, coast and peak; raindrops on rock pools and windows, ripples in the sand, moss on walls, cobblestones. My work captures movement, pattern and texture to create textiles embedded with underlying codes and a significance of place, time and memory. I weave garments and textiles for the home in three collections, Coast, Peak and Home.  I particularly enjoy working closely with clients on commissions.

Place is significant for my practice- I’m surrounded by fields full of sheep so wool is my favourite versatile, and renewable of fibres, and most of my yarns are mill end, excess from the textile industry. I am motivated by a need to de-scale production levels, produce and value quality fabrics, repair what we have and  see fabrics for their technical and artistic value.

I was brought up in a household of makers. I remember making little cardboard looms when I was a child. I learned on a four shaft loom made by John and George Maxwell. Researching the loom and it’s history tapped in to my archaeology training. Today  I weave on a 12 shaft, custom made floor loom.  Also I am the custodian of beautiful bespoke loom from Sweden that belonged to one of our greatest weavers. Barbara  Mullins and her mother Gwen ran a weaving workshop and school- they were know as the Graffham Weavers. Their work is in the V&A and Gwen taught the finest 20th century rug weaver, Peter Collingwood. It is my ambition to build a weaving shed and get it up and working again. It feels fitting that it should be working again and I feel the responsibility profoundly.