Skåne Slo-mo, Artist Film
Exhibited in the collaborative BRIDGE 24, London
Skåne Slo-mo is a handheld artist video taken on impulse on a stormy winter afternoon on the Skåne coast in Southern Sweden, which I was visiting for the first time. I noticed the rain against the passenger car window was complicating my sense of place and felt a sudden sense of the uncanny, with too much to take in, or process. I realised if I mindfully held the camera phone still against the window and recorded the scene, I could potentially combine the perceptual layers of the window glass, the intermittent rain drops running off it, the coastal sand dunes and trees and finally the sea itself into one. Making the final work, I slowed down the recording to heighten the ambiguity I first felt, with the human conversation unintelligible, eerie and adding an element of sci-fi. The resulting video offers an open-ended, somatic based experience of that specific, sculptural landscape.
Exhibited in the collaborative BRIDGE 24, London
Skåne Slo-mo is a handheld artist video taken on impulse on a stormy winter afternoon on the Skåne coast in Southern Sweden, which I was visiting for the first time. I noticed the rain against the passenger car window was complicating my sense of place and felt a sudden sense of the uncanny, with too much to take in, or process. I realised if I mindfully held the camera phone still against the window and recorded the scene, I could potentially combine the perceptual layers of the window glass, the intermittent rain drops running off it, the coastal sand dunes and trees and finally the sea itself into one. Making the final work, I slowed down the recording to heighten the ambiguity I first felt, with the human conversation unintelligible, eerie and adding an element of sci-fi. The resulting video offers an open-ended, somatic based experience of that specific, sculptural landscape.
|
|
Artist Video, 2024 5.13 minutes Edition of 5 & 1 A/P (available) |
Other BRIDGE works
BRIDGE 23, Tjörnedala konsthall, East Skåne, Sweden, Nov-Dec 2023
BRIDGE 24, Downstairs at the Department Store, Brixton, London, Sept 2024
BRIDGE was a two year cross-cultural collaboration between two established artist-run organisations, ArtCan (UK) and ÖSKG (Sweden). For each exhibition artists are selected from each organisation and paired up. Each pair was asked to connect through email, messages, phone calls and video calls, and were encouraged to meet up in person. Our only guidelines were to communicate beyond the studio space, exchange ideas and to take inspiration from each other’s lives and culture. The focus was on each duo’s shared journey, which results in a joint installation.
Paired with ÖSKG glass artist Jonas Rooth, I made work using coloured glass from his studio.
BRIDGE 24 installation - with my 'myceillia' made from Rooth's glass linking his blown mushrooms
|
Crystal Cosmos, 1
Edition of 30 & 1 A/P (available) 420 c 297 mm |
Tjornedala Konsthall
|
Flier
|
Interconnectedness
Exhibitions include BRIDGE 24
Exhibitions include BRIDGE 24
|
Interconnectedness 1, Photographic Print, 2023, Two editions:-
There has been a huge growth in writing about the entanglement of the living systems on our planet - systems from which we are not separate, but inseparable. This willow, and the geographical and biological communities that surround it, offers a small glimpse of that larger truth: life emerging through connection, dependence, exchange, and coexistence. |
Everyday Actions Photographic series, 2023-present
Our individual and collective psychological coping strategies for the climate emergency.
Everyday Actions are personal and activist works based on our psychological coping. Informed by my parallel career as a research psychologist and by feminist artists and writers they are based on the mindset beautifully stated by athlete & civil rights activist Arthur Ashe - 'Start where you are. Use what you have. Do what you can'.
Our individual and collective psychological coping strategies for the climate emergency.
Everyday Actions are personal and activist works based on our psychological coping. Informed by my parallel career as a research psychologist and by feminist artists and writers they are based on the mindset beautifully stated by athlete & civil rights activist Arthur Ashe - 'Start where you are. Use what you have. Do what you can'.
Slick?
Photographic Print on Hahnemühle Bamboo 300x225mm Edition of 30 & 1 A/P (available) This is an environmental protest photograph for the climate emergency. Referencing both oil slicks and corporate lobbying and greenwashing, Slick? was made in the studio from a wet oil painting that existed just for the camera. |
Selected for:-
85th London Group Open Exhibition, 10-26 November 2023, Copeland Gallery, London. What A Waste? Koppel Project (above) |
In Wonderment
Exhibited Stow Brothers, Hackney, 2025
Experiences of awe, beauty and the sublime are universal to human experience in the real and virtual worlds and are much used in a fine art context. Research from positive psychology is showing that actively cultivating micro moments awe in our daily lives can increase our sense of empathy and can even make us more altruistic. In the words of curator Denise Markonish “Wonder is not passive, we can cultivate it ... treat it like a practice".
Exhibited Stow Brothers, Hackney, 2025
Experiences of awe, beauty and the sublime are universal to human experience in the real and virtual worlds and are much used in a fine art context. Research from positive psychology is showing that actively cultivating micro moments awe in our daily lives can increase our sense of empathy and can even make us more altruistic. In the words of curator Denise Markonish “Wonder is not passive, we can cultivate it ... treat it like a practice".
|
In Wonderment Photographic Print on Fuji Matt 420mm x 297mm Edition of 15 & 1 A/P, 2020 (available) Staged in the studio from everyday materials and shot on film, In Wonderment 1 invites contemplation about where we might perceive awe in the here and now. of our everyday lives. |
|
|
|
Shifting Horizons and Changing Contexts, Stow Brothers, London E8, Joint show with Marcia Teusink
Liminal - Photographic series
In the studio Catherine uses moving, everyday materials, such as glues or body creams, to paint with, or stage as temporary table-top tableaus for the camera. Outside, she seeks liminal and threshold spaces to photograph, and film - places that connect her to the natural ecosystems we are part of. This series aim to have a tone whereby sky, sea and pools all have a colour palette that blends together into one; as we are an entangled part of the ecosystems which we depend on for our survival.
Liminal 1, Cornwall, 2024
Photographic print on Hahnemühle Bamboo 500 X 400 MM Edition of 15 & 1 A/P (available) |
Threshold, Cornwall, 1998
Photographic print on Hahnemühle Bamboo 150 x 100mm Edition of 30 & 1 A/P (avalible) |
More-Than-Human, Photographic & Painting & Mixed media series, 2023 - current
A new, ongoing series of paintings, photographic and video works of jellyfish, squids and octopuses.. David Abram coined the term "more-than-human" to refer to the broader, non-human world that includes animals, plants, rocks, and other elements of the earth - our world is not simply passive background to human existence, but actively participates in the shaping of human perception and understanding.
The Scale of It? Jellyfish photographic series
Exhibitions include Strands, London (2024)
A new, ongoing series of paintings, photographic and video works of jellyfish, squids and octopuses.. David Abram coined the term "more-than-human" to refer to the broader, non-human world that includes animals, plants, rocks, and other elements of the earth - our world is not simply passive background to human existence, but actively participates in the shaping of human perception and understanding.
The Scale of It? Jellyfish photographic series
Exhibitions include Strands, London (2024)
The Scale of It 1, 2024
Photographic print on Hahnemuhle Bamboo 420 x 297mm Edition of 15 (available) |
The Scale of It 2, 2024
Photographic print on Hahnemuhle Bamboo 420 x 297mm Edition of 15 (available) |
The Scale of It 3, 2024
Photographic print on Hahnemuhle Bamboo 420 x 297mm Edition of 15 (available) |
More-than-human, Squid and Octopus Paintings started 2023 - current
Exhibitions include Everyday Sunshine Summer Exhibition (2026), Strands, London (2024)
More Than Human is a series of watercolour paintings of octopuses and squid that explores our relationship with the more-than-human world. Through careful observation and delicate layers of colour, the works celebrate the intelligence, adaptability, and extraordinary forms of these marine creatures, inviting us to look beyond human-centred perspectives. The works acknowledge these creatures as complex, sentient beings with their own ways of sensing, communicating, and inhabiting the ocean. By foregrounding their beauty, vulnerability, and agency, More Than Human encourages reflection on our interconnectedness with other species and the shared ecosystems on which all life depends.
More-Than-Human 2
19x13cm watercolour & pencil panting on 250g paper (sold) |
More-Than-Human 1
19x13cm watercolour & pencil panting on 250g paper (available) |
|
Shifting Perspectives, Photographic series, 2023 - present
This series references recent psychological research findings which indicate when we have a memory, we don’t retrieve it fully-formed, we create something new and ‘shift perspective’. The work also emphasises the fleeting nature of our emotions and impressions.
Shifting Perspectives 2
297 mm x 210 mm Edition of 30 & 1 A/P (available) The work is an inverted photograph of the River Lea. |
Shifting Perspectives 2
Shifting Perspectives 2 297 mm x 210 mm Edition of 30 & 1 A/P (available) The work is Chine Garden photographed through a temple coloured window |
|
Beacon (2021)
Photographic Print 
Photographic Print on Fuji Matt.
Edition of 30 & 1 A/P (available) 297mm x 210 mm Edition of 30 & 1 A/P (available) 330 mm x 220 mm This campsite kitchen tent felt like a small island of safety and shelter within the surrounding darkness, coming after the UK COVID 19 lockdown. Up closer, the interior objects reveal themselves through their shadows, which are projected onto the tent walls like a delicate drawing. |
|
Better At A Distance? Photographic series, 2023-present
Better At A Distance ? 1 Exhibited in Transparent as a Dragonfly, Arteborgo, Rome in October 2023 Bermondsey Project Space in March 2024. Curated by Lesley Bunch, Rita Carta Manias (ArtCan) & Martina Scavenge and Anna Isopo (Arteborgo Gallery)
Inspired by Italo Calvino’s descriptions of distant cities and playing with the open-ended readings and scaling that photography offers, the series Better At A Distance? invites us to see where our own narratives and stories take us. The cityscape was staged using a table-top sculpture using everyday office materials of staples and glues. It is presented as an archival limited-edition print without a frame, mounted on aluminium.
Better At A Distance ? 1 Exhibited in Transparent as a Dragonfly, Arteborgo, Rome in October 2023 Bermondsey Project Space in March 2024. Curated by Lesley Bunch, Rita Carta Manias (ArtCan) & Martina Scavenge and Anna Isopo (Arteborgo Gallery)
Inspired by Italo Calvino’s descriptions of distant cities and playing with the open-ended readings and scaling that photography offers, the series Better At A Distance? invites us to see where our own narratives and stories take us. The cityscape was staged using a table-top sculpture using everyday office materials of staples and glues. It is presented as an archival limited-edition print without a frame, mounted on aluminium.
|
Better At A Distance ? 1 Photographic print on Fuji Matt mounted on aluminium 20x16cm. Edition of 15 and 1 A/P (available) The cloud dissolved at times in a wisp of wind, or else remained suspended in mid-air; and the answer was in that cloud. As the puff carried the smoke away, the answer was in that cloud. As the puff carried the smoke away, Marco thought of the mists that cloud the expanse of the sea and the mountain ranges and, when dispelled, leave the air dry and diaphanous, revealing distant cities.it was beyond that screen of fickle humors that his gaze wished to arrive: the form of things can be discerned better at a distance. Cities & the Sky 1 (Page 88, Vintage Classics, 1997) |
Kitchen Cosmos Photographic series, 2023-present
Exhibitions include Alchemical, London (2023)
Reminiscent of distant galaxies or underwater blooms.
We were all falling,
But not through the sky
Though we be made of
Old stardust
We are now starfish,
Falling deeper
Into a real ocean
Losing our way
And embracing the currents
Shooting stars can't compare,
Too our underwater,
Get away.
Cheyenne Raine
Exhibitions include Alchemical, London (2023)
Reminiscent of distant galaxies or underwater blooms.
We were all falling,
But not through the sky
Though we be made of
Old stardust
We are now starfish,
Falling deeper
Into a real ocean
Losing our way
And embracing the currents
Shooting stars can't compare,
Too our underwater,
Get away.
Cheyenne Raine
Kitchen Cosmos 1,
Giclée photographic print on museum quality Hahnemühle Bamboo, A4 (made from a scan of the original lumen print, preserving the intensity of colour. Edition of 30 & 1 A/P (available) |
Faded original lumen faded during Alchemical exhibition
|
Made using an experimental chemigram process and domestic waste picked out from the kitchen plug hole. The process uses black and white paper, which produces rich pink hues when exposed to chemicals over a number of hours. The original print made by placing kitchen waste on black and white photograph paper and exposing it to daylight over a four hour period).
Kitchen Nebule
Exhibited in Space, Tebbs gallery
Exhibited in Space, Tebbs gallery
Kitchen Nebule 3
Giclée photographic print on museum quality Hahnemühle Bamboo, 420 X 297 mm Edition of 20 & 1 A/P (available) Made from lumen print and sketch book paper (stuck on when wet) |
Kitchen Nebule 4
Giclée photographic print on museum quality Hahnemühle Bamboo, 420 X 297 mm Edition of 20 & 1 A/P (available) Made from lumen print and sketch book paper (stuck on when wet) |
In Proximities, Photographic series 2016-2018
Ambiguous in place and scale these staged 'Cityscapes' invite us to hold onto both our senses of curiosity and intrigue, alongside feelings of defamiliarisation and strangeness. In Proximities is a series of four photographic prints. They were shot on film in the studio from a tableau of everyday stationery items with no manipulation employed.
2022 14TH ANNIVERSARY ISSUE 157 (In Proximities 4)
2022 THE VIOLET HOUR, ABRIDGED MAGAZINE (In Proximities 4)
2021 SOMETHING FROM NOTHING, Kato Wong Galley, online (all)
2014 EPSY PHOTOGRAPHIC AWARD EXHIBITION (In Proximities 3)
This series is all about inviting us to keep considering the contradictions in our relationship with the urban. Playing with scaling and ambiguity, here urban spaces are unpopulated and presented in ways that invite feelings of curiosity and intrigue, yet at the same time maybe offer senses of unsettlement, a bit surreal, or eerie—creating a sense of strangeness or discomfort and unfamiliar. The concept of the uncanny (or unheimlich in German) was famously explored by Sigmund Freud, referring to something that is both familiar and strange at the same time, evoking feelings of unease.
Ambiguous in place and scale these staged 'Cityscapes' invite us to hold onto both our senses of curiosity and intrigue, alongside feelings of defamiliarisation and strangeness. In Proximities is a series of four photographic prints. They were shot on film in the studio from a tableau of everyday stationery items with no manipulation employed.
2022 14TH ANNIVERSARY ISSUE 157 (In Proximities 4)
2022 THE VIOLET HOUR, ABRIDGED MAGAZINE (In Proximities 4)
2021 SOMETHING FROM NOTHING, Kato Wong Galley, online (all)
2014 EPSY PHOTOGRAPHIC AWARD EXHIBITION (In Proximities 3)
This series is all about inviting us to keep considering the contradictions in our relationship with the urban. Playing with scaling and ambiguity, here urban spaces are unpopulated and presented in ways that invite feelings of curiosity and intrigue, yet at the same time maybe offer senses of unsettlement, a bit surreal, or eerie—creating a sense of strangeness or discomfort and unfamiliar. The concept of the uncanny (or unheimlich in German) was famously explored by Sigmund Freud, referring to something that is both familiar and strange at the same time, evoking feelings of unease.
Top Left - In Proximities 4 | Top Right - In Proximities 3 Bottom Left - In Proximities 2 | Bottom Right - In Proximities 6 |
Large-scale edition of 5 & 1 A/P Small-scale edition of 15 & 1 A/P Shot on film, they are made in the studio using an experimental macro process using everyday items of office stationery, with no manipulation used. |
In Her Caravan, Poetry Collaboration
Phototograph, 2013
Taken from a moving train this work is an art and poetry collaboration with child psychotherapist & poet Elaine Randell.
This paring was shortlisted for the Adrian Henri Poetry in Art prize & exhibition selected by Carol Ann Duffy.
Phototograph, 2013
Taken from a moving train this work is an art and poetry collaboration with child psychotherapist & poet Elaine Randell.
This paring was shortlisted for the Adrian Henri Poetry in Art prize & exhibition selected by Carol Ann Duffy.
In Her Caravan,
C-Type Photographic Print. Edition of 15 & 1 A/P (available) |
In Her Caravan
She has his photograph it a blurred picture of a tiny baby propped up by the Tampax box. She tells me that she has no regrets he had to go what with her health and all that. Signs readily the adoption paper to make him someone else’s to love and restore back into focus Elaine Randell |
Finding the Light, 2021
Shown in ‘The Playful Turn’, crated by Degrees of Freedom, Summer 2021,
‘Finding the Light’ was made from gold tape and written instructions inviting people to use their smart phone camera to capture the light and take away a colourful picture for themselves.
Shown in ‘The Playful Turn’, crated by Degrees of Freedom, Summer 2021,
‘Finding the Light’ was made from gold tape and written instructions inviting people to use their smart phone camera to capture the light and take away a colourful picture for themselves.
|
|
|
Above & Beyond, Mixed media abstract paintings, 2019 (sold out)
These are small-scale 'landscape' works on board that explore the distant landscape both from an aerial perspective and a horizon line view. Process-led, they are made with plaster and mono-printing ink and involve a careful way of working into the materials and eroding them back over time.
These are small-scale 'landscape' works on board that explore the distant landscape both from an aerial perspective and a horizon line view. Process-led, they are made with plaster and mono-printing ink and involve a careful way of working into the materials and eroding them back over time.
Rural Idyll Jigsaw, 2011
Responding to idealised views of farming and the countryside. Made on a residency on a working sheep farm in Constable country.
The jigsaws subvert the ‘chocolate box’ imagery of the countryside, presenting an obvious disparity with the reality and bureaucracy of livestock farming especially following the 2001 foot and mouth crisis and were also made thinking about the lived experience of sheep and their lambs. They were made during ‘Rural Idyll’, a week-long residency held on a working sheep farm in 'Constable country', Suffolk during lambing time in the spring 2011. Curated by Ruth Richmond & Jax Horswill, visitors to the farm and final show in the June were invited to work together collaboratively to help complete the jigsaw
puzzles.
The images of the sheep used in the jigsaws were of them in their daily lives, sometimes blurred using wool found on the farm over the camera lens.
Following the residency these artist jigsaws are now being sold at open studios and with the Artist Support Pledge, for £75, raising money for the environmental charity Friends of the Earth.
Responding to idealised views of farming and the countryside. Made on a residency on a working sheep farm in Constable country.
The jigsaws subvert the ‘chocolate box’ imagery of the countryside, presenting an obvious disparity with the reality and bureaucracy of livestock farming especially following the 2001 foot and mouth crisis and were also made thinking about the lived experience of sheep and their lambs. They were made during ‘Rural Idyll’, a week-long residency held on a working sheep farm in 'Constable country', Suffolk during lambing time in the spring 2011. Curated by Ruth Richmond & Jax Horswill, visitors to the farm and final show in the June were invited to work together collaboratively to help complete the jigsaw
puzzles.
The images of the sheep used in the jigsaws were of them in their daily lives, sometimes blurred using wool found on the farm over the camera lens.
Following the residency these artist jigsaws are now being sold at open studios and with the Artist Support Pledge, for £75, raising money for the environmental charity Friends of the Earth.
Rural Idyll Jigsaw (Fiendish level)
|
Audience completing the jigsaw
|
Uncertainties Series (Audience Participation)
Photographic series, 2001-2005
Abstract landscapes made from beauty products staged in temporary tableaus in the studio just for the camera. Audience participation - with viewers invited to share with each other their responses to the uncertain, open ended works.
The photographs were staged in the studio using medium format film and a close-up lens to explore table-top tableaus made from beauty products and everyday organic materials such as weeds and leaves to mirror the textures and sense of vastness we can find when we connect to the natural world. I used beauty products to make the work for their material stickiness, for art historical and for to reference decades of psychological research. What we find beautiful is obviously completely in the eye of the beholder and determined by our cultures and life experiences and its use in art continues to be debates rigorously. Emerging research by psychologists such as Jai Wei Zhang is now showing that connectedness with nature predicts well-being and greater social connection when individuals are emotionally attuned to nature's beauty. I like to think of the words written by abstract artist Agnes Martin in 1989 who said ‘When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection. We respond to beauty with emotion. Beauty speaks a message to us. We are confused about this message because of distractions. The message is about different kinds of happiness and joy.
In two Uncertainties solo exhibitions viewers were invited to share with each other where the works took them in their imaginations on ‘post its’ under the work (BPS) or luggage labels (MAC). The shows at British Psychological Society Annual Conference, Dublin in 2008 (curated by Professor Catherine Loveday, University of Westminster University) and Midlands Art Centre, Birmingham in 2005 (curated by Alex Boyd Jones).
We would like to know your feelings about the images in this exhibition.
What does the picture remind you of?
How does it make you feel?
What does you make you think about?
Please fill in a label with your thoughts, ideas and views on one or more image and place it by the work to share with others.
Photographic series, 2001-2005
Abstract landscapes made from beauty products staged in temporary tableaus in the studio just for the camera. Audience participation - with viewers invited to share with each other their responses to the uncertain, open ended works.
The photographs were staged in the studio using medium format film and a close-up lens to explore table-top tableaus made from beauty products and everyday organic materials such as weeds and leaves to mirror the textures and sense of vastness we can find when we connect to the natural world. I used beauty products to make the work for their material stickiness, for art historical and for to reference decades of psychological research. What we find beautiful is obviously completely in the eye of the beholder and determined by our cultures and life experiences and its use in art continues to be debates rigorously. Emerging research by psychologists such as Jai Wei Zhang is now showing that connectedness with nature predicts well-being and greater social connection when individuals are emotionally attuned to nature's beauty. I like to think of the words written by abstract artist Agnes Martin in 1989 who said ‘When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection. We respond to beauty with emotion. Beauty speaks a message to us. We are confused about this message because of distractions. The message is about different kinds of happiness and joy.
In two Uncertainties solo exhibitions viewers were invited to share with each other where the works took them in their imaginations on ‘post its’ under the work (BPS) or luggage labels (MAC). The shows at British Psychological Society Annual Conference, Dublin in 2008 (curated by Professor Catherine Loveday, University of Westminster University) and Midlands Art Centre, Birmingham in 2005 (curated by Alex Boyd Jones).
We would like to know your feelings about the images in this exhibition.
What does the picture remind you of?
How does it make you feel?
What does you make you think about?
Please fill in a label with your thoughts, ideas and views on one or more image and place it by the work to share with others.
Limited Edition
It is essential to surrender to the idea that human incoherence, which is always twinned with coherence, is what keeps us curious, furious, confused and vitally alive. Deborah Levy, Writer & Author
Once you know you don’t know, you can begin to explore Elizabeth Fisher, Art Historian
Large scale edition of 5 & 1 A/P (limited availability)
Medium scale edition of 20 & 1 A/P (available)
Taking positive states of not knowing as a starting point, Uncertainties is a series of abstract psychological landscapes with deliberate open ended and multiple readings to invite to our subjective responses. Working with the natural ambiguity inherent in photographic practices such as uncertain scaling and an unclear sense of subject, is crucial for these works as the uncertainty is here reframed as invitational prompts for curiosity and play. These of course, are key positive emotions, that a huge amount psychological research shows when cultivated in our everyday lives can improve our sense of connection with each other, our communities and the bigger, natural world outside ourselves.
It is essential to surrender to the idea that human incoherence, which is always twinned with coherence, is what keeps us curious, furious, confused and vitally alive. Deborah Levy, Writer & Author
Once you know you don’t know, you can begin to explore Elizabeth Fisher, Art Historian
Large scale edition of 5 & 1 A/P (limited availability)
Medium scale edition of 20 & 1 A/P (available)
Taking positive states of not knowing as a starting point, Uncertainties is a series of abstract psychological landscapes with deliberate open ended and multiple readings to invite to our subjective responses. Working with the natural ambiguity inherent in photographic practices such as uncertain scaling and an unclear sense of subject, is crucial for these works as the uncertainty is here reframed as invitational prompts for curiosity and play. These of course, are key positive emotions, that a huge amount psychological research shows when cultivated in our everyday lives can improve our sense of connection with each other, our communities and the bigger, natural world outside ourselves.
Mountains of the Mind, Paintings, Small-scale, mixed-media paintings on board, 2019 (sold out)
These works were all about a desire to experience the rock formations and thermal pools of the Icelandic landscape. They are small-scale, textural, landscape works on board made from combining paint with everyday materials including glue.
These works were all about a desire to experience the rock formations and thermal pools of the Icelandic landscape. They are small-scale, textural, landscape works on board made from combining paint with everyday materials including glue.
View Finder - Hospital Arts Project, 2006
With my background in mental health I collaborate in the art in health care settings. My art is held in the private collections and therapy rooms of psychotherapists and counsellors, and I undertake residences in this area. The use of art in healthcare settings has been an area of growing interest, with numerous studies indicating that it can have beneficial effects on patients, healthcare providers, and the overall healthcare environment, although more research is needed. Some area's it is thought to help are:-
With my background in mental health I collaborate in the art in health care settings. My art is held in the private collections and therapy rooms of psychotherapists and counsellors, and I undertake residences in this area. The use of art in healthcare settings has been an area of growing interest, with numerous studies indicating that it can have beneficial effects on patients, healthcare providers, and the overall healthcare environment, although more research is needed. Some area's it is thought to help are:-
- Reducing Stress and Anxiety: Numerous studies show that exposure to art, whether through viewing or creating, can significantly reduce stress and anxiety levels in patients. For example, a study published in Arts & Health (2016) found that patients who participated in art programmes in hospitals showed lower levels of anxiety and improved mood. Art likely provides a distraction from illness, engages the mind in a positive way, and encourages relaxation. Art therapy, particularly when combined with relaxation techniques, has been shown to activate brain areas associated with positive emotions and relaxation, such as the prefrontal cortex. Research published in Journal of Advanced Nursing (2018) demonstrated that patients in hospital settings who were exposed to art showed improved mood and decreased feelings of isolation. The study observed patients in hospital rooms where artwork was displayed or in spaces where interactive art was incorporated. Engaging with art can also enhance a sense of control and agency, which is particularly important for patients in long-term or terminal care. Art can help enhance patient outcomes, reduce the need for more expensive medical interventions, and promote faster recovery, ultimately contributing to cost savings
- Pain Management and Perception: A study in The Lancet (2013) found that patients who viewed art exhibited lower levels of perceived pain. Another study in Journal of Pain and Symptom Management (2016) indicated that art interventions could reduce pain perception and discomfort, particularly in palliative care settings. Engaging with art can serve as a cognitive distraction from pain. Art can also promote the release of endorphins and other chemicals in the brain that help with pain relief. Furthermore, visual art can lower the heart rate and blood pressure, contributing to a calming effect.
- Supporting Healthcare Workers: Healthcare providers, particularly nurses and doctors, have reported lower levels of burnout and stress when they work in environments with art. Research from The Journal of Nursing Administration (2020) suggested that having visual art in hospital spaces can improve staff morale and reduce the emotional toll of caregiving, which can in turn enhance patient care.
|
Chosen View: Hayle Beach View, Cornwall
Chosen View: Gower Peninsula, Wales |
Lead Artist for 'Viewfinder' commissioned by Barking, Havering & Redbridge NHS Trust (2006). Patient and staff led, this was a year long collaborative landscape photography project with patients and staff of a Cancer Ward using research guidelines that recommend the use of large-scale landscape artworks to help reduce patient anxiety levels in health care settings.
Where possible staff and patients and their relatives accompanied me to determine the exact location of their chosen view. Landscapes chosen included Bolton Abbey, Yorkshire, Hayle Beach, Cornwall, The Gower Peninsula and Norfolk Coast. The final large scale photographs are permanently installed in the unit in perspex frames along with simple captions stating the place of the view, why it was chosen and the name of the person selecting it.
Where possible staff and patients and their relatives accompanied me to determine the exact location of their chosen view. Landscapes chosen included Bolton Abbey, Yorkshire, Hayle Beach, Cornwall, The Gower Peninsula and Norfolk Coast. The final large scale photographs are permanently installed in the unit in perspex frames along with simple captions stating the place of the view, why it was chosen and the name of the person selecting it.
Intimate Landscapes, Photographic series, 2000-2002
Exhibitions include Sense and Sensuality
The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
Ansel Adams, Photographer
'The close up renders objects less recognisable while revealing something unexpected about them’
Fiona Bradley
These abstract, flowing 'landscapes', staged in the studio, draw our attention to the biological and geographical systems that are essential for our survival. These abstract, flowing 'landscapes' , staged in the studio, draw our attention to the biological and geographical systems that are essential for our survival. Crossing the micro and macro they invite us to consider how our living cells and fluid bodily systems only exist due to the water cycle that supports life on earth over a huge scale and which in turn is part of the biosphere ecological system that includes all living creatures and their relationships, including their interactions with the lithosphere (land), hydrosphere (water), and atmosphere (air). Intimate Landscapes were shot on the table-top tableau of natural and domestic materials (leaves, food dyes and jelly) on 35mm film, with a close-up lens.
Exhibitions include Sense and Sensuality
The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
Ansel Adams, Photographer
'The close up renders objects less recognisable while revealing something unexpected about them’
Fiona Bradley
These abstract, flowing 'landscapes', staged in the studio, draw our attention to the biological and geographical systems that are essential for our survival. These abstract, flowing 'landscapes' , staged in the studio, draw our attention to the biological and geographical systems that are essential for our survival. Crossing the micro and macro they invite us to consider how our living cells and fluid bodily systems only exist due to the water cycle that supports life on earth over a huge scale and which in turn is part of the biosphere ecological system that includes all living creatures and their relationships, including their interactions with the lithosphere (land), hydrosphere (water), and atmosphere (air). Intimate Landscapes were shot on the table-top tableau of natural and domestic materials (leaves, food dyes and jelly) on 35mm film, with a close-up lens.
A4 Digital C-Type Photographic prints.
Edition of 30 & 1 A/P
The series was first shown, presented mounted on board, at Lewisham Art House in 1999 in 'Sense & Sensuality', a joint exhibition with painter Annabel Kapp. They were presented unframed, mounted on board, increase their painterly, poetic readings. Sense & Sensuality' was then selected to tour from 1999-2001 to four venues (Madeley Court Gallery, Telford & Wrekin, Albrighton Regeneration Arts Project, Telford & Wrekin, Ludlow Assembly Rooms, South Shropshire, Belmont Arts Centre, Shrewsbury, Spout Farm Gallery, Telford with with Gallery-net.
Edition of 30 & 1 A/P
The series was first shown, presented mounted on board, at Lewisham Art House in 1999 in 'Sense & Sensuality', a joint exhibition with painter Annabel Kapp. They were presented unframed, mounted on board, increase their painterly, poetic readings. Sense & Sensuality' was then selected to tour from 1999-2001 to four venues (Madeley Court Gallery, Telford & Wrekin, Albrighton Regeneration Arts Project, Telford & Wrekin, Ludlow Assembly Rooms, South Shropshire, Belmont Arts Centre, Shrewsbury, Spout Farm Gallery, Telford with with Gallery-net.
In Suspension, Photographic series, 1999-2001
Developing an experimental process, organic, floral forms are suspended in everyday liquids such as milk and jelly for the camera to create immersive, fluid works.
I cannot remain forever an artist of the floating world
Kazuo Ishiguro, From the book An Artist of the Floating World
Edition: Various small-scale, Edition of 50
Statement: Developing an experimental process, I took organic, floral forms and suspended in everyday liquids such as milk and jelly for the camera to create immersive, fluid works.
Exhibitions: Various group shows 1999-2004.
Developing an experimental process, organic, floral forms are suspended in everyday liquids such as milk and jelly for the camera to create immersive, fluid works.
I cannot remain forever an artist of the floating world
Kazuo Ishiguro, From the book An Artist of the Floating World
Edition: Various small-scale, Edition of 50
Statement: Developing an experimental process, I took organic, floral forms and suspended in everyday liquids such as milk and jelly for the camera to create immersive, fluid works.
Exhibitions: Various group shows 1999-2004.
|
|
|
Intimacy series, Photographic series, 1999
Solo exhibition FOOD 99, Herefordshire Photography Festival.
“Love doesn't just sit there, like a stone, it has to be made, like bread; remade all the time, made new.”
Ursula K. Le Guin, The Lathe of Heaven
Using fruit and jelly to make still life 'foodscapes' as ways of building self esteem and self acceptance,
addressing comfort eating and sensuality.
Solo exhibition FOOD 99, Herefordshire Photography Festival.
“Love doesn't just sit there, like a stone, it has to be made, like bread; remade all the time, made new.”
Ursula K. Le Guin, The Lathe of Heaven
Using fruit and jelly to make still life 'foodscapes' as ways of building self esteem and self acceptance,
addressing comfort eating and sensuality.
Intimacy 1
Small scale print on Hahnemule Bamboo, edition of 50 & 1 A/P. Early career staged photographic works looking at using fruit and jelly to make still life 'foodscapes' as ways of building self esteem and self acceptance, and addressing comfort eating and sensuality. They were made in the studio on 35 mm slides and film using an experimental, temporary table-top process. |
|
|
|