Once I got to art school, I discovered the world of textile arts and was enticed by the huge diversity within this area. I then spent three years studying the many disciplines that fall under the umbrella of ‘textile arts’. I had a great time, but I really didn’t feel that I had found my specific medium,and I felt quite lost towards the end of my degree. As a result I decided to go on to do an honours year, so that I could focus on one project. It was during this year that I discovered and developed the embroidery technique that I still work with today.

The technique that I use to create my artworks is a unique form of embroidery. Using a domestic sewing machine, I draw with threads onto water-soluble fabric. This fabric acts as a temporary surface for my stitched drawing, and once the drawing is complete this base fabric is washed away, leaving the skeletal stitched drawing behind. I was drawn to this type of embroidery, because I saw it as an exciting way to draw. I was further inspired by the sculptural possibilities of the technique. The fact that I could do a drawing with stitches and then liberate it from its base cloth to create a free-standing sculpture or a delicate, lace-like object had me hooked. I have now been working with this technique for over ten years and I still love it.

I am now based in Newcastle, which is a city that I love. When I moved here, I decided I would take up some more formal art training. As a big fan of lifelong learning, I wanted to challenge and refresh myself by exploring new artforms. Through a series of rather serendipitous encounters with Newcastle locals, I learnt about a unique course that is run out of the University of Newcastle, the Bachelor of Natural History Illustration. I never intended to take on another degree, but this course was just the perfect match for me so I threw myself into it. It combined elements of art, nature and science; which were all areas that my embroidered artworks centered around. So I found myself back at uni again, but this time I was doing field work and scientific study alongside the traditional drawing, painting, and sculpting skills required for scientific applications. I loved it, and the fieldwork and research I was doing crept over into my art practice and helped inform my embroidered artwork.

Now I am creating and selling my embroidered artworks full time. The bulk of my work lies in private commissions, which I send all over the world. I am involved in several exhibitions each year and have my work stocked in a handful of galleries. I also teach workshops, so I get to stretch those teaching muscles from time to time, which I really enjoy.

But those standard work days are very rare now,since I became a mum 6 months ago. Since the birth of my beautiful daughter, my regular studio schedule has gone out the window. Now my days are filled with mum duties, and I sneak into my studio work where I can (usually during nap times). It is a big juggle trying to figure out my new role as a mum while still maintaining my art business. But I am doing what I can, and so far I am keeping all of the balls up in the air.

My first rented studio space was huge, so it allowed me to create without restrictions. It was a part of a larger studio complex, so I was surrounded by other working artists. An unexpected benefit of this was that it had a great sense of collegial support in what is otherwise a rather lonely profession.

My solution was to throw myself deeper into work. I booked several exhibitions in and tried to build up a strong social media presence. I work best when I am juggling many things, and when I have deadlines I don’t have time to worry about my doubts, I just have to work. So that is what I do. You just have to ride out the highs and lows of this kind of job by keeping your head down and working hard. Luckily for me it has paid off.