In Rebecca Solnit's A Field Guide to Getting Lost, (2005)  the author suggests that by the action of getting lost we experience   ".... the unfamiliar appearing". She proposes that the explorer "ceased to be lost not by returning but by turning into something else". 


Couture Drawing responds to, and challenges, materiality - looking at what happens when processes and materials from different disciplines collide. It involves playing with components - investigating the inter-connectedness of two sides of my practice. 

The fabric used in many of these pieces is organza - a favourite of couture houses for ballgowns of the  1950's. It is a silky, transparent material - very hard to sew but, like paper, it holds its form. In material terms it is symbolic of glass: it is expensive, it shares similar qualities of transparency, of fragility but also strength.