Society of Women Artists Annual Exhibition / September 2019/2018
Sunday Times Watercolour of the Year / September 2019
‘Out of Darkness’ (Lumen Crypt Gallery, St. John on Bethnal Green, London) / July 2019
‘Drawing Strength’, Monsalvat (Victoria, Australia) / November 2018 - January 2019
LIFE (co-curator and exhibition), Wimbledon College of Arts / May 2018
The Art of Making Sense, Chelsea Triangle / May 2018
Speaker, ‘Linda Nochlin (1931-2017) In Memorium’ / April 2018
CCW Cross-College Exhibition, Chelsea Cookhouse / April 2018
Against Static, Wimbledon College of Arts / March 2018
TIME + NARRATIVE, Wimbledon College of Arts / December 2017
Hesketh Hubbard Society Annual Exhibition, The Mall Galleries / August 2016; 2017
Distinction, MA Drawing, Wimbledon College of Arts
First Class, MA History of Art and French, the University of Edinburgh
Mercers’ Arts Prize Winner
I am an artist and art historian concerned with access and narrative within institutions. Using drawing, extensive note-taking and art-world criticism I attempt to interrogate grand narratives that are simultaneously discredited and perpetuated.
My research explores the connection between the copy and the embodied act of copying drawings, and theories of experiential learning.
Theories of the embodied mind conclude that mind and body should not be considered as separate and that bodily experience can be considered a cognitive process. (Lakoff and Johnson 1999, p. 97.) A drawing therefore can record both a physical and mental process. As argued in ‘The Thinking Hand’, a drawing of a tree, for example, ‘does not reproduce the tree as it manifests itself in the objective reality: the drawing records the way the tree is seen or experienced.’ (Pallasmaa 2009, p. 92)
Copying can therefore be a powerful tool to make art and art history accessible. My sketchbooks are a key area to explore my own subjective and critical responses to an objective art history that only displays resolved works.
My recent research has focused on the hidden lineage of draughtswomen within art history. Frustrated by the absence of exemplars by ‘master’ draughtswomen to copy, and therefore learn from, I use my own practice to expose this lacuna while attempting to fill this narrative gap in art history.
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