I believe assemblage art can be just as beautiful as other art forms, such as painting or sculpture. Assemblage, like painting uses colour, light, form, technique and conveys meaning. I do all of the above when creating assemblage art. I hand pick items, subject matter, colours and composition in the same way a painter does. As a trained painter; switching disciplines has breathed new motivation and joy into the creative process.

My main drive towards assemblage art is the love of recycling discarded items to create not only a thing of beauty; but also a dialogue. Based on the way I see the world, I choose sometimes emotive subjects to reflect all facets of society. I like to present the ugliness of human nature in beauty. I examine stereotypes, gender roles, relationships, sociology and fertility. Psychology is a theme I return to again and again.

Aside from art, I am incredibly passionate about music and I have a vast eclectic collection. I am currently listening to Laura Marling, Florence and the Machine, The National, Sisters of Mercy, Jane's Addiction and Elbow. My art is most definitely influenced by music and I get all my best ideas whilst listening to it. I seem to enjoy sad songs more than happy ones and I prefer to tackle sadness, loss or injustice in my art.    

I find my ‘treasures’ at car boot sales, charity shops, skips, garage sales, the street, jumble sales and antique shops. I am always hunting for interesting objects or boxes. My studio is quite small and it’s vital I'm organised so I catalogue my curios into themed boxes, drawers and on shelves. I like the process of opening a box and the thought processes this action congers up - such as discovering a secret inside. My work usually carries meaning; but sometimes, I create a piece purely for it’s aesthetic quality; but I always invite various interpretations from the viewer.

My studio is my haven and every time I walk through the door, I am filled with infinite possibilities. For me, assemblage is putting a puzzle together from an image in my head. But it's not without it’s complications; sometimes the work has a mind of its own and can organically grow into something that bears no resemblance to the original idea. When this happens I feel I must respect ‘The Work’ and let it take me where it wants to go.

I get the majority of my ideas when going about my daily life – so driving, listening to music or cooking. I always have a notebook with me and I scribble down words rather than drawings.

I begin an assemblage by choosing the items that best represent the image I want to portray. The items are matched to the size of the box and depending on how well they compliment each other; things are either added or taken away. I can use a combination of found items or make them myself using clay, fabric or metal. At the beginning of a piece my studio is immaculate, but by the end of the day, I’ve pulled everything out of drawers, off shelves and somehow managed to glue my sleeve to the workbench!

I enjoy using my various tools and have always loved working with my hands. My dad is a builder and I used to get a lot of satisfaction nailing various things together as a kid.

A painting tutor once said to me that the blank canvas is the most intimating thing to an artist and I can say the same for an empty box. I always feel what I call ‘The Fear’ when I am working on my art. The whole process is not only a decision making process at each and every turn; but also a constant questioning from my internal critic. The trick is to continue until the critic is silent and stop when the critique persists (despite all your best efforts)  when that happens, the work doesn’t see the light of day.