PORTFOLIO
Below is a collection of my major works from 2016 to now
'I DON'T THINK IN ENGLISH, I THINK IN DYSLEXIC'
2020
'I Don't think In English, I Think In Dyslexic' is an ongoing project as part of my honours year. The printed work is an autopathography of my dyslexic every day. Working with the breakdown in communication caused by the dyslexic interruption.
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Using a handmade alphabet I will recreate the lists found in my everyday space, accepting the mistake making process along the way.
'LISTS, LOSTS, LITS'
2020
This work is a dyslexic autopathography, based on an intergenerational strategy of list-making. Consisting of five brown paper lists,
'SEEING RED'
2019
Ten metres of woven threads, 'Seeing Red' is a multimedia work intertwined with symbols of dyslexia. Red referencing academic mistake-making, the piece uses extracts from my many dyslexic diagnoses. The use of different red materials refers to the many therapies and strategies used to 'cure' my dyslexia, the engulfing size of the woven piece is the overbearing feeling felt.
'DOGS YAP SO LOUDLY EVERY XYLOPHONE IS ANNOYED'
2019
'Dogs Yap So Loudly Every Xylophone Is Annoyed' is based on a rhyme I created with one of my tutors to help me remember how to spell dyslexia. This childish, nonsensical acronym, illustrated through a five plate zinc etching, is a representation of my dyslexic experience and its connection to my childhood.
'WE CAN FIX IT!'
2019
This nine plate zinc etching is a homage to all the techniques and therapies I remember from my dyslexic journey. Each plate represents a different therapy, using a different etching technique. The etching techniques include; drypoint, two plate colour image, heat press transference, open biting,  and aquatint.
'GREENHAM SPRINGER'
2019
'Greenham Springer' uses quotes by Graham Stringer, British Politician and MP for Blackley and Broughton, that challenge the existence of Dyslexia. The screen-printed portraits of Stringer attempt to present the disdain towards Graham the dyslexic community has, the number of prints being the percentage of this population. Changing the lettering of the text by switching all the Ps Qs Bs and Ds, common mistakes seen throughout dyslexics, also references the symbol for dyslexia. The red colouring of the text, a common theme seen throughout my work, is reminiscent of the correction methods used throughout schooling. In addition, in 2007 testing for Scotopic Sensitivity was performed determining a light sensitivity in my optic nerve and a particular sensitivity towards red light and colouring. The irony of this; her academic pages being engulfed with red corrections. The screen printing method I employ augments the incomprehensiveness of the text. Ranging from 20cm to 1cm the prints gradually become unreadable through the restrictions of screen printing, manipulated to present Vorgias' forms of ‘visual language’, allowing the audience to share in an experience they otherwise wouldn’t, and subsequently shrinking his mean words to nothing.
'SHELL'
2019
This embossed work was founded on a recent visit to the Isles of Pines where I witnessed first-hand the devastation caused over time by tourism. The entire coral reef had been bleached and killed by the excessive carbon monoxide in the water due to the intrusion of large cruise ships. The coral resembled dry, white bones that would crumble at the slightest touch.
As part of a two-part piece; ‘Not So Eco Footprint’, I am embossing images of coral using deep-etching techniques. My embossed images will accompany a sculptural piece presenting the same issues. I have worked on 5 separate plates which will be printed as impressions. I used the open biting technique in particular to create the authentic, organic texture of the coral.
I have chosen the embossing technique to symbolically represent the bleaching of the coral. The style of print in itself is a temporary work, over time the print will flatten and lose its life, much like the coral reefs this work references. This symbolises the fragility of the coral and the environment, and the irony in the fact that by traveling to view these beauties we threaten their existence.
'NOT SO ECO FOOTPRINT'
2019
‘Not So Eco Footprint’ is an interactive sculptural installation, comprising thousands of bone-like sculptures which are scattered in the audience's path as part of the NOX Randwick exhibition. Based on a visit to the Isle of Pines, where I saw the devastating effect of tourism on the natural coral reefs, I created an installation to both make a statement for environmental protection and also to challenge the stereotype of untouchable artworks. By forcing the audience to step on and crush the bones, they are invited to experience the uncomfortable feeling associated with damaging the sculpture. This mirrors the irony of tourism as a harmless activity, while actually destroying the environment tourists travel to experience.
