2025 began with a collaboration with Lewis Prosser in “Making Merrie” with some stunning woven willow costumes made by Lewis. It was a very merry time performing in Swansea and Cardiff, especially in the depths of winter!

I continue to create paper costumes, inspired by ancient sacred sites and the natural world. This year I have had an exhibition in Siberia (sadly I could not attend for obvious reasons), and am heading to Shanghai in October for the international paper art Biennale, where I will exhibit and give a presentation on my performance and land art with “Paper and Water” (which happens to be the theme). I will be travelling with my most recent wearable art: a Sea Dress, based upon a stormy West Wales sea horizon, made with abaca paper, acrylic paint and nettle twine.

After my Shanghai visit, I will head on to Japan, to rekindle the project I was hoping to begin in 2020 …. suffice to say it involves ancient burial mounds, paper art and performance!!

Earlier in the year, I enjoyed a residency with fellow clown teachers, exploring our teaching methods in these times. This was a time for exploration, brainstorming, support and inspiration. As a result I gave a short workshop on Clown and Grief in Bristol at The Clown Congress, and have begun to deepen my practice and explore teaching further workshops. I continue to run a 5-day Clown and Connection workshop, and have now a 5-day “Clown and Connection, with the Land”, to offer for people who have completed the first workshop. I was happy to be invited to The Bleddfa Centre in Powys, to offer this first version of the Clown and Land workshop. We were able to drop into a deeper place, also being residential, and to listen to, and connect with not only ourselves and each other, but what the land had to say. 

A beautiful time was had with Jo Munton in the research and development of her solo show “Are We Innocent When We Dream?”, exploring narcolepsy. I offered my experience of clown and shamanism to this process, and came away with so much learning to absorb. Thank you Jo!

I have worked for almost 25 years within dramatherapy and theatre for diverse ability groups. The Blodeuo Project in Abergavenny, which I have worked closely with for many years, sadly did not receive ACW funding this year. It has meant we have had to pause this work, which is very sad news, as the benefits to the community were huge.

The other sad news is the closure of the Dramatherapy course at Roehampton University, where I both studied and taught. I enjoyed teaching the last cohort enormously and feel it is a great sadness that we have lost such an inspiring course.

I continue to work in paediatric wards and hospitals bringing creative interventions to children in the UK, with Theodora Children’s Charity. I now work in three different hospitals in the south of England, and it is a joy to visit children and their carers on a regular basis.

My practice can be read about in detail in the publication "Staging Loss: Performance as Commemoration" edited by Michael Pinchbeck and Andrew Westerside, published by Palgrave Macmillan. Ebooks: Google and Springer Nature.

I also write regularly for the bulletins for the International Association of Hand Papermakers and Paper Artists (IAPMA) 2019 (https://iapma.info)