Why thus wilt thou yield so much to unreasoning grief,
Sweet my husband? Not without heaven’s approval
Does this befall us; for thee to take with thee Creusa
In thy journeying hence may not be, nor does he that is lord
Of lofty Olympus allow it. Long is the exile
Awaits thee, and vast the stretches of sea thou must plough;
To the Land of the West shalt thou come, where the Lydian Tiber
Flows gently by ploughlands rich for the men who have tilled them.
There happiness waits thee, a kingdom, a princess for bride.
Put away thy tears for Creusa, the wife of thy love;
I shall not look on the Myrmidons’ arrogant halls
Or Dolopians’, shall not go to work as a slave
For the women of Greece, I that am Trojan by birth
And a daughter-in-law of Venus; but on these shores
The gods’ great mother will keep me. And now, farewell,
And keep thy love in thy heart for thy son and mine.
Virgil, The Aeneid
Creusa's Lament examines the fate of Aeneas' wife Creusa in Virgil's The Aeneid. Creusa is left behind by her husband, her spirit confined to the walls of Troy for eternity.
Her story, little explored in visual culture, is amplified into an immersive narrative experience, allowing the audience to begin to inhabit the uncomfortable space hollowed out by Creusa’s spirit. This experience is crafted through drawing, sculpture, and spoken word. I have used the material language of the sea and the cliffs – clay, salt, and chalk – to make relics forged from the shadow Creusa’s spirit casts through history.
Collaboration with Ted Yoon. Poster for Royal College of Art Film Society screening of Au Hasard Balthazar
The More Things Change is a book inspired by the Gabriel Garcia Marquez novel, The Autumn of the Patriarch. Similarly, I constructed this narrative in the style of magic realism, whereby I created a fictional benevolent dictator to occupy a real location, the Isle of Sheppey.
I chose a visual language that combines photographs of real objects with illustration and monoprinting – investigating ways in which the materiality of image making can interweave with the content of the text.
A series created in response to John Berger's And Our Faces, My Heart, Brief As Photos. I wanted to explore how the idea of home as a safe space can be reassembled once it has been dismantled and fragmented in the ways described in Berger's work, through different kinds of emigration and exile.
With this in mind, I began making visual experiments based on how these fragments of home can be translated so that they might fit back together.
I was awarded the Gordon Peter Pickard travel bursary in 2015 in order to further develop my interest in the bridge between individual experience and collective understaning, and the traces of stories held in our environment.
I used this opportunity to travel to Montréal, a city built on over 9000 years of habitation, which has seen many different cultures leaving their own narrative traces within its little archipelago.
From these initial drawn interpretations, I came to the idea that creating rapid and instinctive work through immersion in an environment, and then weaving these responses into different forms, can allow us access to a more profound understanding of how human experience populates the spaces around us through narrative.