My drawings are an investigation into language, beginnings and ends of it, learning and losing it. Clay is the in-between bit - the instinctive making-ness that fills in the gaps. I cannot name the clay things in the way I name my drawings.
'Must a name mean something?' Alice asked doubtfully.
'Of course it must,' Humpty Dumpty said with a short laugh: 'my name means the shape I am — and a good handsome shape it is, too. With a name like yours, you might be any shape, almost.'
Together the drawings and the clay objects are a celebration of the absurd, a transformation of ordinary objects and simmering consomme of fact & fiction, an ongoing series of parallel worlds.
Although physically separate, the three dimensional “Clay Things” shared a powerfully intimate relationship with the drawings. It is this symbiosis, this highly tensioned space between the more conscious drawings and the haptic language of clay-making that drives my current work.
Recent exhibitions include: Tall Tales : Freud Museum & touring 2016; Volta , New York NY : Danielle Arnaud 2016; Stop Bugging Me : Frame 2, Tintype, London, 2015; Bread & Jam, Whitbread Road, London, 2015; Delta, Five Years, London, 2015;
Impact, Hangzhou, China, 2015; Abstract Apartment, Deborah House, London, 2015; Pigdogandmonkey Manifesto, Airspace Gallery, Stoke On Trent, UK, 2014; chapter two, Danielle Arnaud , 2014; against Nature, Camberwell Space, London, 2014; Glass Cat #2, Wimbledon Space, London, 2014; Hackney Harpoon, Saison Poetry Library, London Lines, in collaboration with Writer Iain Sinclair, 2013.
She is a visiting Lecturer at the Royal College of Art, London, and Ruskin School of Art : Oxford University & University of the Arts London.