Art critic, writer, editor. Award-winning lecturer.

Specialized in: 

Art criticism / art theory / writing / publishing / editorial / creative non-fiction / storytelling / widening participation.

Why do you create?

Growing up, my home was full of books, and that had an enormous impact. My parents are highly creative and made things for our home, some furniture, paintings, flower arrangements, loved to cook, loved to take me to the library and museum, but had jobs in factories, schools and in social care. We were a working-class family with a rich cultural life. I illustrated my own little books as a child, and went onto study at art school, which gave me the techniques and process to achieve more. I learned an interdisciplinary practice: using the right tool for the right job, and avoiding putting yourself too firmly into categories that might restrict you. I've been lucky enough to take my ideas into magazine publishing, curating and exhibition making, broadcasting and education. Creative play really does bring the best out in me. I am happiest with a pencil in my hand, writing on paper, printing with ink, drawing. Anything creative is important to do regularly, for the sake of doing it, regardless of how 'good' it is. Draw a dog, make a zine, sew a skirt, bake a cake... How it makes you feel is vitally important. 

What random things are inspiring for you at the moment: 

Body horror! Across formats and approaches, in literature, film, art, music, with focus on women, neurodiversity, class, mental health. A few examples: the film The Substance with Demi Moore, challenging self hatred with glee; the sci-fi novel Hyperion by Dan Simmons, which has a horrible scene with the crucifix becoming sentient and parasitic, invading a priest's chest; fashion designer Robert Wun's Bleeding Love collection, which reminds me of the film Carrie blended with cosmic horror. I'm drawn to horror in art.