Distilled from agriculture, the essence of my inspiration was home. The materials I worked with was clay, dung, paint, net wrap and string. Working with the wet clay and dung, my tactile senses instinctively guided my hands to squeeze and pull the material. I appreciated any opportunity to make work in the great outdoors, and the dung heap became my studio.

This body of work developed from the claw of the milking machine, which led me to making playful sculptures about the cows’ udders. This bovine organ became the tool of my craft and the ‘udder pen’ was born. The ‘udder pen’ creates organic marks that are elusive and trippy. Inspired by the textures found in the farmyard, I am interested in using handmade tools, such as wire structures, to depict cows’ hair and skin. Wire structures combined with clumps of clay act as a three dimensional drawing, which led to me adding straw and cow’s hair to the clay. The cow’s hair complements my interest in textures.

I expanded the imagery and idea by making paintings that featured the chunky objects using flesh tones.  Just like topdressing hay fields with manure helps fertilize the soil the well decayed dung was also an excellent nutrient source for my personal project. The work reflects my extensive research into Daphne Wright and Dorothy Cross.

I was interested in the viewer's’ perception of home and why we keep returning back to where we grew up. I have not found any concrete answers about why we do, and through my artwork these questions continue to be explored.