The End of Innocence

My recent sculptural work has focused on using draped ceramic forms that are a metaphor for flesh, spirituality and the human experience. I also carve and shape, in clay, the contrasting textures of wood and bone.The complex and ambiguous shapes of drapery are appealing. The visual attraction of the flowing curves and different textures of the work invite touch and compel the viewers gaze to trace the lyrical lines of the sculpture, emphasising the sensuality of the material and form. The drapery partly conceals the bone and speaks to the issue of concealment and whitewashing that is currently being spotlighted and worked through in our culture in relation to various forms of abuse and oppression, including misogyny, sexual abuse and reclamation of Indigenous history. The playful pop of colour represents the various stereotypes assigned to womanhood, from the idea of purity, innocence and maligned sexuality. My work is about ambiguity and duality, spirit and flesh, skin and bone, concealment and exposure.