As an artist my interest is in collaborative animation practice. I encourage collaborators to claim space within and without the frame. I have worked with a variety of groups, from machinists in a knicker factory, to microbiologists in a laboratory. The subjects I have made work about have ranged from competitive sweet pea growing, to archaeology, neuroscience, HIV/AIDs, and my own experience of having twins. With all the communities I have worked with my process begins with conversation and connection, and I communicate this nuanced collaborative process in my final work through visuals as well as sound.

I am interested in hidden and overlooked stories and communities, especially those marginalised by gender, age, socio-economic status, visual accessibility, and geography. Following my interest in the hidden, my artistic practice often also works reflexively with non- or pre-visual science, investigating the process of animating invisibilia. Having a sense of playfulness and humour is important to my practice, often conveyed through the materiality used in the work.

I work with animation because no one ever finds it intimidating, and yet it can convey complex ideas to a wide audience in an engaging way. I completed a PhD by practice through which I developed and refined the nuanced collaborative practice methodology I use today.

I love that my work straddles many different fields and yet fits neatly into none of them.

My most recent film is the BAFTA (2024) nominated Visible Mending about the ways in which knitting and crochet can be used by elder communities to help face adversity, calm anxiety, and make crucial social connections. In the film a group of knitted objects tell stories about how they have used knitting to mend themselves, even if the repair is temporary.

I am Head of Animation at the Royal College of Art, UK and Visiting Professor in animation at University College Volda, Norway.