Between 2014 and 2017 I worked predominantly in the medium of moving-image, which allowed me marry together my interest in the visual arts and my love of music. I've always paid close attention to the way in which sound can support a visual message but I started to unshackle the musical dimension of my work from its role as accessory to visual material. My work took the form of ‘conceptual compositions’ which lay within the indistinct division between art and music: a hybrid, 'Musart'.
In March 2017 I staged a performance intervention entitled ‘European Unison’ in Leeds. 28 pianists gathered to represent the members of the European Union and play out the history of the EU from its birth to Brexit. The piece acted as a eulogy to the union. The ensemble of pianos demonstrated that ‘the whole is greater than the sum of its parts’.
We Can Work it Out
This work was exhibitied at the ICA in London and Bluecoat Gallery for the Liverpool Biennial, as part of the 2016 Bloomberg New Contemporaries, for which I was selected.
The work exhibited was conceived for the inaugural ‘Feminism in Theory and Action’ conference at Wadham College in 2014. It responded to the unconstructive online arguments and trolling occuring on digital platforms aimed at providing a safe space to discuss issues surrounding gender equality and trans rights.
eMortal was exhibited at Winchester College in 2016 and the 2016 Ruskin School of Art Degree show.
The video installation explores our digital afterlives and the digital trail we leave on our departure. Inspired by autobiographical experience, this work exists in a space between humour and sadness.
I am fascinated by technology and social media’s affect on human-to-human communications. I have explored phenomena such as online dating, the Internet of Things and the digital afterlife. Within these investigations my focus often hones in on the potential of these technological developments to help or hinder gender equality. Where and what is feminism in the digital century?