This artist works through drawing and printmaking to record forms of knowledge that rarely enter official accounts. Based in Shetland, she spends extended periods with people whose understanding of a place is built through daily use rather than abstract expertise: crofters, fishers, makers, volunteers, and others whose labour binds them to particular landscapes and communities.
Drawing is approached as a social exchange as much as an image-making practice. Working on site and often in public, she makes records of activities, customs, and spaces that are vulnerable to economic pressure, regulation, development, or simple neglect. The resulting works are not illustrations of heritage but observations of living cultures that continue to adapt while retaining distinct local character.
Printmaking extends this work beyond the circumstances of its making. Through lithography, screen printing, photopolymer and risograph, each image is reconstructed rather than reproduced. The translation from drawing to print introduces resistance, forcing decisions to be tested and remade. This process is central to the work. The print emerges through revision and material negotiation, becoming a distinct object that carries both the specificity of direct observation and the wider reach of circulation.
This artist works through drawing and printmaking to record forms of knowledge that rarely enter official accounts. Based in Shetland, she spends extended periods with people whose understanding of a place is built through daily use rather than abstract expertise: crofters, fishers, makers, volunteers, and others whose labour binds them to particular landscapes and communities.
Drawing is approached as a social exchange as much as an image-making practice. Working on site and often in public, she makes records of activities, customs, and spaces that are vulnerable to economic pressure, regulation, development, or simple neglect. The resulting works are not illustrations of heritage but observations of living cultures that continue to adapt while retaining distinct local character.
Printmaking extends this work beyond the circumstances of its making. Through lithography, screen printing, photopolymer and risograph, each image is reconstructed rather than reproduced. The translation from drawing to print introduces resistance, forcing decisions to be tested and remade. This process is central to the work. The print emerges through revision and material negotiation, becoming a distinct object that carries both the specificity of direct observation and the wider reach of circulation.
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