Since gaining a B.A. (Hons) Degree and a City & Guilds in Art & Design, I have widely exhibited across Essex, London and Norfolk. My paintings are in private collections throughout the world.

The main basis of my development as an artist is to break down the many taboos that exist in the art world in regard to the very primitive instinct of touch.

From the first time humans painted it was to communicate. It is a social interaction and I believe that art should make us question and challenge normal conventions. I want audiences to be able to interact with my work, to appreciate colour and texture and to be able to touch and feel the textures of  paint.

Touch, in my opinion, is a much ignored sense, and one that we are indoctrinated from birth into not using, particularly in the art world. “Do not touch,” is prevalent everywhere in our society, yet is such an instinctive sense in allowing us to evaluate our surroundings by selection and discrimination that to devalue it does not allow for a full appreciation of life. It is this, that I strive to challenge through my own work as well as investigation of how it is received and explored by others. My driving belief is that my work should be touched and the reasons how I developed this are explained below .

This passion for touching art stemmed from a visit to the UNESCO building in Paris years ago. I was quite overwhelmed by the fact that I was so close to a Picasso; a huge mural, “The fall of Icarus,”  I could have, and indeed felt the need  to reach out and touch it. I could have, there was no security but I didn't, I checked myself , but it started the wondering and questioning . Why did I want to touch this great masterpiece, why was touch such an intrinsic need?

From here whenever I went to galleries and exhibitions I watched other people. They stopped, they looked and they pointed as near to the paintings as they could possibly get without security being alerted.  I realised they were performing as I had. A basic need was being thwarted. We don't deprive our sense of smell, nor our other senses, only touch. If there was no need for touching, there would be no need for the signs that pervade our lives. 

I mde a concious decision, if we all desired to touch, to satisfy a primeval need then I would develop  this, and produce tactile paintings to encourage it.

This was back in 1998  when 'tactile' paintings were quite uncommon  and, at the time it caused quite a stir. My work continuously featured in national and local publications, with headlines along the line of “Touching Work”, and “Artist is inspired to fulfil her ambitions,” amongst  many  other comments. Further interviews continued and a short feature on me for the BBC's News 24 was made.

However, despite the interest and some galleries taking on board my request for audiences to be allowed to touch my work, others were more reluctant and children in particular were still being discouraged and not welcomed. Allowing for full participation should, in my opinion, allow for full participation, children included ( whom I felt was having all creativity stifled  from birth).

I decided to make changes which meant a fundamentally different approach; to take my unique art out of a gallery environment and direct to the general public rather than waiting for people to venture into a gallery. This was serious. My development as an artist was not going to be compromised and I wanted  reactions and comments. In short a different approach.

A new community art studio was developed at Basildon which was attached to a school. I offered to help increase the people using the facility by working voluntarily with the community to develop their individual art skills and techniques. Whilst this proved very successful it soon became noticeable how the pupils of the school were keen to see what was going on. I approached the Head teacher and asked whether I could include working with the children. From that point on I started to work on a voluntary basis with children as well and showed them first hand how art could really be developed by the use of touch.

I continued with this, which developed into working with disadvantaged youngsters via Social Services and Connexions. In addition I continued to exhibit my art where people were encouraged to touch. As well as exhibiting for people with limited vision where finally touch was approved!.

One exhibition a couple of years ago in an empty shop in Basildon's Eastgate had 40,000 people visit over a period of 6 months and the reaction was always the same. People who felt intimidated or reluctant to enter galleries found this experience really uplifting and positive and were keen to promote the venture to their friends and family. The whole scenario was extremely successful.

A little while later  I approached my local council, who I knew were always keen to promote art, and asked if I could work in primary schools across the area, which  was agreed.  I  then began a very different brand of an artist's residency. Respecting the children's need to question and an indirective approach I  encouraged the pupils to think for themselves and show development in art by ensuring they were  consulted and involved in the planning, making and the ownership of their own ideas and work. With touch they created art that not only showed development but gave them new learning skills. In turn, I didn't expect them to slavishly copy my way of working but encouraged them to think autonomsly, challenge anything they didn't understand and not be scared of trying new ideas. My favourite saying is 'Drawing skills can be taught, great art comes from within'.

This proved highly successful with both the children and teachers who also becaming  involved and keen to develop and extend the children’s skills and techniques after I left.

This partnership with Brentwood Borough council developed and I am currently involved in a three year contract working in local schools as an artist in residence. I continue the non directive approach and still ensure all pupils participate at every stage of the work which leaves them enthusiastic to continue with the subject.

However the driving force behind my own work continues. I still challenge and question, explore and develop new ways of taking art to the public whilst not compromising  my beliefs.

I am frequently invited to participate in art festivals and events, one which took place in autumn 2008 at South Weald Park. “East meets West” was a highly successful open air festival  organised as part of Essex County Council’s "Jiangsu Festival" which celebrated 20 years of links between Essex and the Jiangsu province. I appreciate venues like this, which involve local people to participate and appreciate art forms in all their diversity.

2009 I have been invited to act as a co-ordinator,organising Brentwood’s first Art Trail. This is proving to be an exciting and popular event and will take place from May  to September 2009. It is already evoking a huge interest and is part of Essex County Council’s “Summer of Arts" programme covering the whole of the county. It will also be an art trail with a difference. Not only does it run through the whole summer but it is to be a truly community event, with as many people involved as possible. Schools, local art groups, Artists, shops, libraries and art galleries are involved. This is a project that  requires careful planning, but I have been delighted with  the response.  Time and time again people have said how they really enjoy art but  are often unwilling to venture into some galleries as they feel some can be elitist and out of touch.

 I'm back to touch again!

Unesco plus 10 years, I am finding that 'touching art' is still challenging me (and others) and whilst it may never become acceptable to some it is something I am never going to deviate from. I believe so strongly that we need to communicate more as a society and from the thousands of children I have worked alongside with I have not found one child who did not respond favourably to being encouraged to communicate through art.

So, I believe that art is not an elitist luxury but a universal language which should bring people together.

 If you should come into contact with any of my work, please feel free to touch the paintings, feel the brush strokes and enjoy. After all they have been put there purely for you.