At the centre of my practice is my own self-care and self-maintenance (routine tasks that are required for my own survival/continuation). This has developed through my own struggle to sustain myself and an artistic practice simultaneously. I am influenced by the work of Mierle Laderman Ukeles, whose Manifesto for Maintenance Art has been a key document for me. Many people share this same practice, either for themselves or others, but the mundanity and repetition of these tasks mean this is an expectation rather than a choice. I am not trying to elevate these tasks or display them in galleries, but to recognise the significance and personal cost for myself and others who practice their creation in this way. 

Alongside this lies my production, which is focused on hand processes such as baking bread and knitting. These are, for various reasons, considered to be ‘craft’ or women’s work, so the research I have undertaken has often drawn from historical and contemporary marginalised groups. The significance of learning both processes and theory from those who are not here to teach it provides a sense of community, and isolation, mirroring my self-maintenance work, where despite the quantity of those performing these tasks there is little discussion and recognition around them.