He tangata Tiriti ahau. Nō Ellan Vannin Isle of Mann, nō Ingarangi, nō Aerana, nō Kotarana ōku tūpuna.
I am a Pākehā artist living in Aotearoa New Zealand. I was born in Ōtautahi Christchurch and grew up in rural Canterbury. I hold a BFA Hons (2012) from the University of Canterbury. I am now based in Waiwhetū, Te Awakairangi with my family.
My practice is currently located at the intersection of art and the everyday; navigating the edges between creative practice and maintenance work; focusing on social fabric—in particular, sites and lived experiences of reproductive labour.
An interest is in connecting the exploitation of low and unpaid labour in the arts, to a broader analysis of capitalist social relations. By centering the often unpaid and frequently invisible labour that daily reproduces workers, this reproductive labour is revealed as the very foundation upon which capitalism is built. The question then becomes, to what end do I seek to practice as an artist? How might I do so in ways that disrupt the apparent givenness of the current economics?
Central to this is an expansive understanding and speculative embodied methodology of the m/other. A way-of-being in the world grounded in an orientation and openness towards the ‘other.’ Isolation, scarcity, competition, and the imperatives of the work ethic are interrogated through this values-based kaupapa—emphasising attachment, interdependence, and proliferation through acts of care, generosity, and vulnerability.
An ongoing concern is a reimagining of the relationship between m/othering and other creative acts. The adoption of piecewerk as a performative identity has opened space for a creative practice where the constraints of my particular ‘throwntogetherness’ could otherwise have been limiting. Home and the household are considered as critical, creative, reproductive spaces. The background to practicing often becomes the foreground as attention is paid to what might otherwise be considered a distraction. This reorientation reveals the potential expansiveness of time–space and the subsequent softening of vision makes way for previously unseen connections and new possibilities. Work not made, ongoing maintenance, play, interpersonal relationships, internal transformation and desires are frequently valued besides unquestioned productivity and external outputs.
 This is an inclusive position with the potential to be enacted by any person regardless of gender identity, sexual orientation or biological offspring.
From June 2018 I am participating in an Arts Territory Exchange with Lizzy Sampson in Narmm Melbourne http://www.artsterritoryexchange.com
From July 2018 I am participating in The Every Day Project with KimyiBo http://email@example.com
From September 2017 – September 2018 I participated in An Artist Residency in Motherhood http://www.artistresidencyinmotherhood.com