LONG DESCRIPTION (333 words)

My practice is conceptual, eclectic and often collaborative. Longing and the futility of effort are key themes of my work, which is mainly digital and low tech, often playful and immaterial. I play the role of a clownish female Sisyphus performing for the camera with an obstinate perseverance which veers into absurdity. I am an alien to the world and myself, embracing and enduring the chaos of meaninglessness. Sometimes I am an observational artist, sometimes I live in a sentimental fantasy world, longing for something that can never be attained. I use language as a medium to explore the fallibility of communication and the unintentionally poetic.  

​I use the body as a form of walking sculpture, responding to spaces and situations with contortions and disruptive actions, attempting to carve out a place for myself where I can fit in. The body is the site of struggle, physical failure and power relations.

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I am interested in conceptual writing that uses text as a malleable, destabilising medium. My model is Uncreative Writing by Kenneth Goldsmith. Online language, the nonsensical, no context text and any “over our heads” resources provide me with endless material to cut and paste or mix and match in a search for inadvertent meanings and poetry.

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I am part of artist duo Berger & Berger, a long standing collaboration with Chinese artist Hanyue Tang. The characters of Jo and Dolly Berger offer a playful and feminine commentary on the business of being an artist, using a mix of performance, intervention and moving image. Tongue in cheek and self-assured, they seek to challenge art that takes itself too seriously, but are never far away from failure and absurdity.

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The collaboration with artist Holly English on Potato Money is overtly politically engaged, but also infused with playfulness. The concept of a potato currency is both a form of hope for a better world and a protest against the excesses of capitalism.

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I have also led a virtual residency focused on waiting rather than making.

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