My work arises from an ongoing investigation into the interrelationship between the body and the rest of the physical world.  The work has moved from my previous interest in how the female body ‘should’ be represented (in order to counter cultural stereotypes), to the questioning of subjectivity, in other words, what it means to be this body.

I am fascinated with the science and process of photography.  Currently I am experimenting with the earliest type of photography to shape my ideas and become one with them. Though each body of work differs, the same conceptual concern with light, time, embodiment and subjectivity runs throughout.  The work is often process led and emerges from what I see and do.  For example ‘Machine I’ began after I transformed a room in my home into a camera obscura.  This was probably one of the most overwhelming moments in my life.  I was inside a camera viewing a magical world that was upside down and inside out.  I was embodied in this inbetween space that was neither inside nor outside.  I had a profound desire to become this space, to be it.

I began to perform and make images by using my body as a camera, joining together interior and exterior spaces through using the orifice of my mouth as the camera body, to clasping my hands together to form an aperture and using a ‘body necklace’ which contained apertures for the lips and hands.  Underlying this work was the act of creating with my own body.  The marks of my bodily processes were inscribed on to the image in the form of fingerprints, teeth marks and particles of saliva containing my historical traces of being.  This work revealed the body as matter and process and questioned the notion of the body as a container for the self.

In 2011 I moved away from using my body as a camera and began to concentrate on transforming public spaces into camera obscuras.  One of my past projects consisted of transforming a K6 red phone box in Birmingham City Centre into a camera obscura.  People were invited to step inside this space to experience the world in a different way.  During ‘wlvfotofest’ 2012 ‘Veiled Chamber’ was a commissioned site-specific project where I transformed the entrance to the Alan Garner Centre, which is set in a public square in Wolverhampton, into a camera obscura.  The wonderful feedback from the people who experienced this project can be accessed in the Project Archive.  

I have worked in collaboration with a group of like minded people at Boundary Way Allotments and Community Gardens in Wolverhampton.  As part of this project I have transformed a shed on a shared allotment plot into a Camera Obscura.  I am interested in creating a small, quiet contemplative space that is deeply connected to nature, a space that encourages people to slow down, to stop and stare, at the beauty of the everyday, something that we dont get much chance to do in this fast paced world.  You can read more about Boundary Way Art Projects on

In 2017 I moved to beautiful Wales and at present I am working on a new project creating origami camera obscura’s for public and community spaces in Wales which will encourage people to enter into a heightened sense of intimacy with nature and the everyday.

‘Veiled Chamber’ Part of ‘wlvfotofest 2012’ ‘