Her practice is meditative, it passes through many stages of positive and negative moulds, requiring patience and a refining of ideas. The materials are natural and pleasant to work with, they are thick, thin, soft, hard, and finally there is the patinated surface, to complete a timeless statement about what it is to be alive.

As early as 1980, she found her oracle in working in bronze – the casting process, and the noble object finished in this fine, timeless material.

It’s a path that takes her far back in time (beyond Darwin and the identification of species). She draws her inspiration from the ancestral forms and ideas of many cultures, and interweaves her observation of nature to interpolate life forms, in the same way that nature surprises us.