• Untitled

    2014 // Conte crayon on paper
  • Closed Curve

    2014 // Closed Curve // Sculpture - Found materials, beeswax rubbing on paper, Sugru, paint. Printed clip-bound books of drawings // This work stemmed from a photograph of a device for extrapolating the whole circumference of a pot from just a sherd. Made by the Egyptologist Flinders Petrie, this object was confusing. It seemed part calliper, part compass. I reimagined it as a machine that smeared our possible dimensions from water-soluble drawings. Whilst making these observational drawings, I thought about the cycle of the sherd, from rock, eroded, resettled, ground, filtered, combined, shaped - a bit of a human interlude -smashed, eroded, resettled. // Part of the Manifold exhibition Pots and Possibilities at the Petrie Museum of Egyptian Archaeology, UCL,  the end point of our residency // In situ photographs by Pierrick Mouton
  • On The First Day

    2013// 280mm x 295mm x 8mm// Freehand embroidery. Stranded cotton and metallic thread on raw linen, mounted on board // A rope-swing appeared in the garden, the new next-door neighbours seemed to have their priorities in order // Part of Manifold Multiples Collection #1, Limited editions produced by Manifold studio *online shop coming soon*
  • Danske Oldtidsminder

    2013 // A one week experimental residency at Guldagergaard International Ceramics Research Centre, Skælskør, Denmark, culminating in an exhibition in the Apple House Gallery. With Manifold members Matt Raw, Ellie Doney and Sun Ae Kim.
  • Waxen

    2013 // Beeswax crayon on paper // A vast wax rubbing made in situ for the exhibition Unfold at Siobhan Davies Studios. The culmination of a summer-long residency with other members of Manifold as part of the Starting Point Series curated by 60|40.
  • The Reveal

    2012 - 2013 // Work resulting from a residency at Street House Excavations, Loftus, North Yorkshire alongside archaeologist Stephen Sherlock // A response to the small, defined, but interconnected dig territory. Two and a half weeks with archaeologists and volunteers, walking in from Staithes most days. Pieces record specific details within and around the Street House site - Heather recolonising the alum mines and cliff tops; An incongruous boulder; A cut in the ground, proof of Romans; A tree, near a spring, where there was a farm, on former borderland, where gallows swung upon a tumulus. The light passing, the wind rocking the portakabin. It’s stab at communicating the experience of spending time with people who point at things that aren’t there and talk about them as though they are. // Read Residency Diary // Works were exhibited as The Reveal at Class 1 Gallery, The Saltburn School alongside work by fellow AIR Sarah Riseborough // Residency established as part of Rednile's Factory Nights programme
    1 - Pillar Pencil, gouache, ink on paper
    2 - Recolonisation Pencil, ink, watercolour, paper, gold leaf on plywood
    3 - Gallihowe (teatowel, numbered limited edition of 100) 100% cotton hand screenprinted in Guisborough
    4 - Crosses of the North Yorkshire Moors Pencil, watercolour on paper
    5 - Strata Found thread and fabric, starch
    6 - Proof Pencil, papercut, photograph
    7 - Gallihowe Tree Pencil on paper
    8 - Villa Pencil on paper
    9 - Boulder Ink on paper
    10 - Our days pass like a shadow (diptych) Pencil on paper
  • Calendar

    2012 // Needlepoint tapestry on canvas // Made for This Is How To Live at 2 Willow Road, the former home of Ernö Goldfinger. // The stub of a tear-off paper calendar is fixed to the door to Ernö’s study. In a conservation environment it’s poignant – Why put the house in aspic that year? My Nain showed me needlepoint tapestry - diagonal stitches on a canvas, not the ‘proper’ woven kind. The inter-generational design and making of the Goldfingers’ tapestries, on chairs and cushions, is something quite special. In this way I wanted to preserve the layers of bleached colours of months, to make heirloom from remnant. It took hours and days and weeks upon weeks.
  • THH Commissions

    Town Hall Artworks Phase II, 2012 // Two commissions - Constellation // Solid, smashed porcelain, brass rods // 238cm x 344cm x 30cm // Constellation is a sculpture in the De Montford Suite at the Town Hall Hotel in Bethnal Green. Solid, smashed porcelain is connected with brass rods. A made-up constellation in a grand, master-of-the-universe room that you can’t see out of. // A Pace Or Two Ahead Of Us // Hand painted glass, fire safety glass // Six door panels, various sizes // Fragments of hand-painted glass on six door panels along the second floor corridor of the Town Hall Hotel in Bethnal Green. The feeling of wandering the Hotel alone, with snippets of people all around. Plus a remembered line from Waugh’s Brideshead Revisited - “Perhaps all our loves are merely hints and symbols; a hill of many invisible crests; doors that open as in a dream to reveal only a further stretch of carpet and another door… each straining through and beyond the other, snatching a glimpse now and then of the shadow which turns the corner always a pace or two ahead of us.” // Project curated by Artsadmin
  • Maes

    2011 // Pencil, gouache, ink, paper-cut // 420 x 297 mm
  • The Staffordshire Panther

    2012 // Porcelain, grasses, Oasis foam, wood, video, ink on board // Photography Glen Stoker // Installation in the AirSpace Gallery window, following 7 day residency with the Potteries Museum and Art Gallery. Part of Conjunction 12, The Art of Survival // Museum curator Ian Vines took me to the stores, dowsing for the right object. A 300 million year old tree; ‘Fossils Unknown’; the head of a prize bull – the thing that stuck was on the Peruvian shelf. A black pot with a double tubular spout and the burnished face of a panther. Strange. I was thinking of the pot as a real panther. On the train I was reading The Old Ways by Robert Macfarlane, he described seeing a Big Cat on the Marlborough Downs. Travelling in on the train from Macclesfield, where I grew up, to Staffordshire, I was looking up sightings in the area. Looking out into broadleaf woodland, I came across Keith Mansfield’s account of his sighting nearby (just through the trees) at Rudyard Lake. Keith’s account, including a shaky, watery video clip and my painting of his google map of the walk he was on that day, plus the remnant material from the making, helped form the new story for the panther head. My porcelain facsimile was the centre of a diorama showing a Staffordshire panther in its habitat. It was a little bit about the death of myth.
  • Woodchop 1 & 2

    2011 // Pencil, watercolour and gouache // Diptych, each 283 x 335 mm // The saw horse was hobbled a year or more ago. My eyes can’t settle on it - each corner directs toward the next in a static pivot. Key junctions were omitted by the midwinter snow. // Shortlisted for The Jerwood Drawing Prize 2011. Read the related artist profile by former Jerwood writer in residence Chris Fite-Wassilak here.
  • Apology & Acceptance

    1 - Apology for untimely use of mobile phone internet whilst at ancient beauty spot // 2 - Acceptance of apology for untimely use of mobile phone internet whilst at ancient beauty spot // 2011 // Pencil, watercolour, gouache // Each 305 x 406 mm
  • Meandros

    2011 // Watercolour, gouache, paper-cut // 170 x 120 mm // Also Giclee Hahnemühle German Etching Edition of 50, each hand cut // A handful of items picked up on the Thames foreshore. A fragment of ruby glass and of yellow flashed glass; a piece of manufactured china with an ancient Greek meander pattern; a piece of blackened and petrified bone, laid on top of which was a wet fragment of newspaper showing an oriental eye. That these far-flung things could be found together - amidst a dense, tidal mass of more - begins to explain something of what the city feels like. // Made for Postcards From Europe. Artists from across Europe were asked to convey something real about the place they live and work.
  • Remote Guiding

    2012 // Collaboration with Anna Francis // Part of the Harlech Biennial // Image courtesy Anna Francis // One day I noticed that Anna had gone to Harlech to take part in a residency. This was very strange, because Harlech is home. It is outside of time and the rest of the world to me. I showed her around.
    Bethan: From the Lion, walk up the hill until you see a sort of stone/concrete box sticking out into the road on your right. It has black railings on it. It's a baptising well and watercress grows in there. Eat some. Feel good spirits.
    Anna: I am sitting outside the lion. I can smell breakfast, and hear birds and the sound of a hoover. I am just about to start. The hill up looks steep. People here are used to hills, but I'm not.
    Read the full work on Anna's blog.
  • Archive

    Image 1 Bassin 2010 Collaboration with Noemie Goudal Found timber & fixings, concrete, high-fired porcelain, salt water, lambda print Image 2 The Wild Places 2010 Giclee Hahnemühle German Etching Edition of 5 - 350 x 350 mm Available individually or as a boxed set of 10.