Tell us about a dream you've had.

 

​My dreams are often very vivid in the moment, but I do find myself struggling to recount them in the morning (sometimes for the best, when they're scary). A lot of the time though, they involve the people closest to me and reflect the relationships in my real life, or rather, my past relationships. I've come to notice a pattern when it comes to my dreams. It seems the people that are no longer in my everyday life like to visit me whilst I sleep, one way or another. Sometimes they look different, but the dream version of myself knows that it's them. They'll have a completely different face, appearing as a stranger that I've never met before. The only way I recognise them is through a 'feeling' of knowing.

 

 

​​​​What is your biggest influence on your practice?

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My desire to make creative work stems from the need to document my lived experience. I'm a memory hoarder at heart and find it difficult to accept that moments pass us by, especially the ones involving those who are closest to me. I like to treasure every little interaction, feeling and experience that I have; which then transform into my own visual depiction. It's important to distinguish the type of memories that influence my practice. I've always struggled to make work about anything remotely sad, and instead use my work as a vessel to remember the good, even if I'm romanticising parts of the past. I see my work as a glorified version of events, by focusing in on my sensory experience of the moment. Naturally, these memories regularly revolve around my girlfriend and the spaces that we exist in together. This is where strong influences of domesticity and the interior home come into play. I'm always been heavily inspired by my comforting surroundings and the people that I associate them with.
Deep nostalgia is the underlining and overarching influence on my practice, that I cannot seem to shake off as hard as I try. This often manifests through my exploration of girlhood and the innocent and simpler childhood experiences that I remember. Somehow, I am always reminded of that time, whether it be through the house my Nan still lives in, the reminiscent feelings of comfort and security that my romantic relationship provides, or the playful and almost child-like colour palette that I choose to adopt within my work.