2023

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'Mother Tongue' Millbank Tower, London

'The Graduate Art Show' Woolff Gallery, London

'MA Degree Show' Chelsea School of Arts UAL, London

' 6th Sense' Cookhouse Gallery, London

'Test Drive' Triangle Gallery, London

'Watcha looking at' Cookhouse Gallery, London

'Wish you were here' Margate Beach, Kent

'Common people' St Saviors Church Pimlico, London

'It's the small things' Cookhouse Gallery, London

'Parallel Arts Festival' Cookhouse Gallery, London

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2022

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'-ing' Cookhouse Gallery, London

'Liberar' Enmolearte, Mexico

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2019

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'Sensi' Solo show, Centrespace Gallery, Bristol

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Gallery text

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Conceived as an accessible and comical feminine critique of painting, sculpture and fine arts; SenSi offers viewers a tongue-in-cheek take on the contemporary ‘white cube’ gallery exhibition. The artist’s principle of making joyous installations is realised through a DIY aesthetic with brightly coloured sculptures made from recycled materials that turn the gallery space into a sensory playground.

 

The show features new works such as Hello my name is Wendy (2019) a mass of recycled and repurposed textiles mounted on a turning crank, which invites the viewer to engage with the sculpture driving it in the motion of a Victorian washing drum, and Free Entry (2019) a split sheet of bright pink material that guides the viewer through the parting as though they were passing through a giant pair of feminine legs. These works co-opt notions of gender roles in domestic life and highlight progress that has been made to redefine womens’ place in society.

The Modern Language of Love (2019) a set of tapestries depicting phases such as ‘lick my tits’ and ‘sit on my face’ cheekily raises the profile of flirtatious contemporary slang and further raises the idea of subverting traditional gender roles.

 

Throughout the exhibition the artist’s sculptures seem to emanate with individual characters such as The Modern Lady (2018), a motorised cone of seatbelts and spray paint slowly gyrating as if it’s unsure of its position in the world, acts as an almost unknowing self portrait of the artist capturing her affinity for bright colours and erratic methods of creation. The artist states of her practice “my methods are always changing, something could be used in one way today and become something completely different tomorrow”.

 

Taking inspiration from abstract expressionist paintings Untitled (2019) subverts the visual language of abstract painting. Flowing across, round and through the negative space of an empty canvas stretcher; brightly coloured strips of textiles wave as the lines of a Jackson Pollock drip painting. These flowing fabric lines are repeated in free standing sculptures mimicking both the technique of abstract painting and the placement of objects in gallery spaces provoking an almost Duchampian response; after all who decides what is art anyway?