My practice is informed by my embodied experience as a woman. Through my exploration of the materiality of the body I attempt to connect with the innately performative body through it's visceral, abject qualities. Through the re-presentation of bodily materials such as hair or blood that have universal familiarity through subjective experience, I am interested in how the gap between viewer and artwork or artist can be bridged. The viewer becomes hyper-aware of their own body, therefore having a perceived physical experience. I often use my body within my practice as a way of reclaiming space and time, in resistance to the notion that a woman should live in a specific socially expected way. I am fascinated with the public-private and appropriate-inappropriate dichotomy that surrounds discussions in relation to the body; assumed acceptable modes of behaviour in society, specifically when discussing the concept of the female in public space, drives my questioning. As a mother I feel much conflict between the label of mother and how I feel as a mother, artist, feminist, etc. The notion of what qualities society thinks makes a ‘good’ mother is problematic and I wonder how the role is performed on a day to day basis. Through the juxtaposition of the immediacy of the body as battery of memory, as site and material, and domestic, seemingly nostalgic, memory-imbued objects which often carry immersive qualities through scent, (such as bread, milk or soap) I am interested in how time and memory become elastic; and how meaning is an inherently subjective perspective.