The selfie era – one we are currently deep within.

The artist has drawn together an elite selection of her portrait collages, to create this design. The faces have been set to be looking in on one another.

Materially, this piece has been printed onto Silk Crepe de Chine, giving it a floaty presence with an observable lustre.

A scarf, wrist piece, hairband…even a frameable piece – what will yours become? Can you see yourself within the faces? Try to identify your own identity and this piece will truly be yours.

Silk Crepe de Chine, printed in the UK by a family run firm.

This piece of the artist’s work, quietly questions the impact events experienced have on our ongoing narrative line. Strong memories built in childhood may only come to light decades later, where they can take on new meaning and finally be understood. Due to the artists localised interest in the portrayal of mending, in this portrait there is an underlying vie for, specifically repair within the humanistic emotional context. When married together, this is transposed via the techniques and materials employed. Irish linen as a ‘canvas’ and foundation to work upon, has been sourced and used to give a nod to her heritage, whilst etching techniques and watercolours mixed with the tactile are reminiscent of her lost grandmothers links with the Fine Arts. Using familial ideography juxtaposed with these and other treasured materials; a cross-discipline approach is employed. The artist here vocalises her most personal question to date, how to ‘mend the maker’. It is her belief that across creative disciplines, there can be a form of restoration for the author of works, brought about via the act of making, not the outcome itself.
Once the original piece is finalised, digital techniques are used to transpose the image onto silk, forming the wearable art you can now observe.