As a part of my practice I make costumes and objects which mainly end up in my performances. I am drawn to making garments and wearable pieces that affect the movement of the wearer and challenge our ideas of function. Often the way in which we experience the world is the focus of my pieces and I am interested in changing our perception of our immediate environment. We are temporarily transformed by what we wear and the perception of us by others is changed by the sight of us.
Wood, acrylic paint, canvas, metal tacks, pâpier maché, satin 2008
These shoes draw on the shoes worn from the 15-17 Century by women in parts of Europe and the Middle East to raise themselves out of the water and muck of the streets. I use this history and a sense of extremity as a way in to thinking about my own journey from my country of origin, New Zealand, to London across the oceans.
Painted Full Circle Dress with Raised Collar
(back view) Acrylic on cotton from Always Water performance 2009
This dress is covered in abstract patterns and figurative images drawn from the natural world. It was completely submerged in water during a series of performances and each time the paint ran and the cloth became more worn. This use leaves a record of the performance in the garment and adds to the narrative of the dress.
Car paint on cardboard with tarlatan. Always Water, performance 2009
This piece was designed to symbolically protect and simultaneously alienate the wearer from their surroundings. The dual purpose of this headdress is to allow maximum protection while the wearer explores the new world around them. This headdress asks is isolation a form of protection or debilitating for the wearer.
Cardboard, steel, silk velvet, acrylic paint, enamel car paint 2009
An exploration device. The Facecone is designed to restrict the information available to you in order to focus your mind on your immediate surroundings. It enables the wearer to explore the world around them without being distracted by the vast amounts of information that surrounds us.