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She maintains it is by sharing intimacy with these materials that installations come to be and not so much by doing things to them, by letting materials be what they are and do as they will, as opposed to subjecting them to complex techniques, tools and noise. The studio to her is both a playground and a place of training, a liminal space where she practices arriving at things with a beginner’s mind, in so much as possible. And yet she is unconvinced by this divide between the studio and the home. Her last installation was the direct result of this coming together, whereby the viewer could discover a work in glass alongside a red plastic juicer the artist had brought in from her kitchen. A collection of little bamboo boats, used during the private view for snacks for visitors, now housed a collection of tiny shells collected during a trip to the seaside the weekend prior to the opening. A half -burnt incense stick rose from a marbled button. Grocery lists became rugs for little sculptural works. A half-drunk tea with its tea bag still in there left the observant viewer wondering how long it had sat there, whether it was still being consumed or whether it was, in fact, part of the installation. All of these decisions, which then led to questions, served to convey the original idea; That there is no such division between life and art. And that all art should be and is, if art at all, alive., alive.
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