I have always been drawn to the spaces between things; between places, people and ideas, and the work of connection across absence. My interest lies with liminality as method and as form. The throughline in my practice is transformation as a moving between states, and how we move through emotional states, particularly in and out of grief. I return to thresholds, to places and moments of in-between, drawn through different bodies of work and have re-mapped city spaces pocked with threat at dusk and dawn, using tilt-shift to collapse scale and pull new stories out of feared places. I have long been interested in what it means to be in space as a woman, and how fear and grief are embedded in that experience of place.

My preoccupation with the liminal grew out of my background in theatre, performance and live art, and has been fuelled by process-driven artists whose projects are disparate and varied: Jeremy Deller, Graeme Miller, Steve McQueen, and Janet Cardiff. It has been shaped too by those preoccupied with space itself, public and private, from Patrick Keiller, Rachel Whiteread and George Chakravarthi to Cornford & Cross. Alan Read's Civic Centre, an extraordinary five-day event across London, showed me how civic space and performance could meet, and festivals by LIFT and SPILL introduced me to the ways storytelling could explode. The principles of coproduction that now shape my filmmaking and art practice came in part out of teaching devising work through the processes and texts of Lloyd Newson of DV8 and Tim Etchells of Forced Entertainment.

Over the course of my research into work like Jeremy Deller's The Battle of Orgreave and Graeme Miller's Linked, my research became my art practice. I investigated the mechanics of coproduction from inside the work. I talked not only to the artists who shaped the direction, but to the people involved at every level: the miners, the performers, the reenactors, Mike Figgis, Artangel, the original interviewees, the facilitating organisations. I learned the deep craft of making work when people's stories are at its centre. This was something quite distinct from work made from testimony, because that wasn't what was happening in Deller's or Miller's direction. Interviewing audiences and artists about how work was made, has embedded a deep-seated fascination with artistic process and how work comes into being.

Current work has been influenced by my residency funded by the Royal Scottish Academy on the Isle of Coll as an enquiry into grief and landscape, and I am currently looking to develop a body of large-format photography and film back there.

Work in development