The ‘Twenty’ project (2017-18) serves as a reflection upon the artist’s long term relationship with her partner in the light of his treatment for heart failure. Shot on an iPhone around the time of their twentieth anniversary, the ‘Unrest’ (2017) triptych embodies the uncertainty experienced by the artist, taken whilst waiting for the results of a procedure. The photographic diptych, ‘Cobweb’ (2017) is a candid portrait, captured unaware in the first week of his return home.
'Syncopation' (2017) is based on the poem, 'Home: A Structure on Trial' by Polish poet, Rafał Gawin. It was originally commissioned for the 'Talking Transformations: Home on the Move' project, curated by Dr. Manuela Perteghella and Dr. Ricarda Vidal, which sought to investigate what ‘home’ means in relation to debates on Brexit and EU migration. The poem took on autobiographical resonance, symbolic of her partner’s recovery, with the home representing a place of refuge and safety, whilst also becoming claustrophobic - “Home is a cobweb”. The flickering sunlight, reflected upon the floors and doors is indicative of his irregular heartbeat – “a fabulous echo of nocturnal misfires” or a “collision of elements”. Correlations are drawn between the structural dwelling and its human presence and absence – “Home is a game of hide-and-seek” with “bodies that carry out the dodging”.
The photograph of the couple on the mantelpiece in ‘You Know Me’ (2018) was taken on Boxing Day 2017 in their local territory of Greenwich, a few weeks after a successful cardioversion. Shot a year on from his treatment, this image, together with the ‘Between Us’ (2018) video are a celebration of his recovery, yet recognition of his vulnerability, viewed through a loving, female gaze. Based on the poem, ‘Loving You’ by Frances Horovitz, this black and white video and accompanying photograph, act as an intimate love letter to her partner, comprised of twenty-one photographs to signify their twenty-one years spent together. Indeed, the sense of intimacy and familiarity is implicit – “I could mark you through to the bone”, signalled by the fluidity of the dissolving images - “you know me as fish knows fish in tide”.