Magna Carta Women is a playful 4-piece collage that captured the journey of British women over the last 800 years since the signing of the Magna Carta. The project was supported using public funding by the National Lottery through Arts Council England and Royal Holloway University and toured England during 2015. The four piece panel visited 17 venues across Southern England including Guildhall Art Gallery in City of London and Royal Holloway University.
My current research concerns the shift in self-identity in which we respond to the demands of seeing and being seen, looking at the value of beauty, self-objectification and self-altering. The research is for a project set around an aesthetic surreal world, in which to be socially accepted women have to adhere to feminine beauty ideals. Plastic Roses explores a female dominated society where there are laws, religion, education and an economy that maintains the perfect beauty equilibrium.
The original concept of Hysterical Females film was to narrate the story of women’s suffrage and mark the 100th anniversary in 2018. However the majority of us know about the history of suffragettes: the force-feeding, the protests, the breaking of windows, so I wanted to look at it from a different angle, focusing on the core of the problem which was the men’s behaviour towards women.
Why do we bother with history? Here's my reasons why it is important to me as an artist. History does matter.
Ain't She Sweet combines old beauty commercials, music, and dialogue with contemporary imagery of beauty ads from magazines, creating an experimental montage on beauty. The main piece of music Ain’t She Sweet was by Eddie Cantor.
This video was submitted for The One Minutes, a global network devoted to moving image. The theme is Martians Send Videos Home looking at estrangement. 'I Died for Beauty' looks at the disruption of habitual perceptions of beauty.