Creative Development - Autumn 2026

Metal, Paper, Plants

In September I spent some time learning wirework with Jacky Oliver, a talented artist who specialises in this medium. Conveniently, she also happens to be a great teacher, and a friend and neighbour at Cockpit Bloomsbury! 
I had come to realise that wirework could really speak to my ongoing quest to convey movement and explore negative space within my work, and could potentially take it to a larger scale in the future. As well as creating new pieces in their own right, I can see how this medium could be combined with both my wood carving and embroidery, and indeed paper, my other new obsession (see below)! 
Although extremely challenging in many respects, creating shapes with the steel rods did at times feel quite familiar. Of course wire is used a lot in millinery, albeit a more pliable version, but there was also, unexpectedly, some resonance with my pattern-cutting process.
My main aim was to create an extension in metal for a small sculpture in beech wood - a form that was ambiguous, but could be a torso, or mannequin. The addition of wirework was to be suggestive of swirling skirts extending from the wood torso. Initially quite elaborate, the shaping became more minimal, which perhaps better suited the relatively simple beech form. The finished piece has fluidity combined with a controlled quietness. I am now working on a second wire sculpture that has movement and a sense of spontaneity, taken through from my initial idea of swirling skirts, and will perhaps incorporate a carved wood base.

Continuing with metalwork, but definitely taking me even further away from my comfort zone, I also had a short introduction to welding, with artist Andrew Revell. This was held at London Sculpture Workshops in South East London - such a great resource for artists, and I might well return there for future projects.

October brought an intensive course on creative papermaking at Morley College. We were taught by artist Eleanor Burkett, whose own practice is deeply informed by her experience of Japanese papermaking techniques, culture and aesthetics - something that really resonated for me.
Papermaking has proved to be fascinating and exciting, with so much potential for it to be incorporated into my work. As ever, there are parallels and similarities with millinery, yet also many differences to explore. I am currently working on several pieces, some using stitch and embroidery, while others will become vessels or sculptures, some incorporating millinery techniques and materials.

Lastly, I have been learning about natural dyes, at City Lit, with artist Renata Minoldo. Having applied colour to my recent new vessels, I wanted to learn more about using plants and vegetables to create natural, sustainable dyes.