About

I didn't set out to be an artist. My degree was in chemistry and astrophysics. After that: civil servant, graphic designer, programmer, photographer, fine art framer. A circuitous route — but looking back, every turn was moving toward making things that communicated visually.

I grew up in Britain, surrounded by history at every corner — ancient architecture, artifacts, the particular feeling of things that have lasted. When I moved, first across the Atlantic, I missed that presence. That sense of continuity, of time accumulated in objects and places. It's never quite left me.

By the time my husband and I moved to America, I was freelancing as a graphic designer — but increasingly, it was the jewelry that had my attention. What had started as a side project was quietly taking over and I realized if I was going to do this properly, I wanted to really learn. So I went to art school in California to study sculpture, jewelry design, and fine art photography.  

One teacher there gave me advice I've never forgotten: look at the things you're drawn to and figure out what the connection is. That's your concept. So I did. 

What kept pulling at me were objects with symbolic weight, historical resonance, meaning that crossed cultures and generations. The jewelry that came out of that inquiry draws on ancient forms — shapes that appear in Celtic tradition, and in cultures far beyond it, across continents and centuries. I love the idea that human beings have, despite all their differences, reached for the same kinds of meaning. A piece someone wears every day can carry all of that quietly.

The paintings came from a different place, but the same instinct. I spent years doing landscape photography, and what I kept noticing was light — how a landscape looks completely different depending on where you're standing, the time of day, the season. I wanted to hold that in a painting. That's why I work with reflective metal leaf and mica: the paintings actually change with the light in the room and the viewer's position. It's not painted to look luminous — it genuinely transforms. When someone stands in front of one and shifts their weight, the painting shifts with them. That felt like the right way to connect the art to the viewer.

I work mainly in copper, bronze, and pewter for the jewelry, letting the materials' own characters inform each piece. I rarely sketch first, and prefer to work in collaboration with the medium.

 

 

The paintings are built in layers: gesso, textural ground, metal leaf, paint, and detail. It takes time. I'll often have several going at once, moving between them as layers dry, sometimes not knowing how a piece will finish until it tells me.

I moved to Connecticut in 2018, when I finally was able to have a full-time studio. I sell and exhibit my work at shows, boutiques, and exhibitions across the North East and regularly host open studio events from my home studio in West Hartford.

 I've shown my work in solo and group shows at:
Farmington Valley Art Center, Avon, CT
New Britain Art League, New Britain, CT
Store52, West Hartford, CT

I've been featured in the February 2026 edition of New Hartford Life magazine.