My work explores the tactile and evocative medium of old Australian checked blankets from the 1960's and 70's. By covering objects and constructing soft sculptures I question the paradox between the soothing effects of the medium, that is, its potential to protect and the stifling effect of imobilising the underlying structure.

In all my work I relate to Freud's description of the 'uncanny' as something that derives it's terror not from something externally alien or unknown but on the contrary something strongly familiar, which defeats our efforts to separate ourselves from it'. This concept is very evident in the work "Homeland security'.

I have an interest in the feeling attached to edges and how sculpture rests in space. For example soft sculpture creates a soft edge. If the space is viewed as a solid in its own right how does the sculpture and the space connect and what is the energy surrounding this connection?

In my work 'Travelin' beyond the Homeland' I use a domestic crochet nylon to weave everyday objects, the main ones being birdcages on springs. They represent an attempt to break out of our suburban past and a 'war on terror' that has caused an insular world view. Exacerbated by a fear of the other the home becomes a cage, but here it is transformed into a dwelling that is free in its difference, colour and eccentricity. On springs it denotes a vast, bounding, far reaching ability to travel beyond the boundaries of fear, crossing borders with a lightness of thought, being and judgement. A lightness that enables us to throw off the blanket of suppression imposed by the powers that be.

My new work is about concealment and camouflage which as well as being applicable in a time of war also relates to the principle of individual concealment. How we try to conceal our true selves from others to avoid judgement is a vast area waiting research.