Teresa grew up as the eldest of six to Catholic parents in Bradford, West Yorkshire. After giving up hope of producing a son, her inventor father began to encourage Teresa to access his workshop and bought her tools for birthday presents.
When she became a parent to one child with a life threatening heart condition, followed by a second child with autism, she did just that, as she felt life had suddenly become too short!
Teresa received a first class BA(Hon) from Nottingham Trent University 1996, and undertook postgraduate studies at Loughborough University, where her tutors included John Atkins FRBS and Dan Archer MRBS. She is influenced by the ethnography's of participant anthropologists, in particular Mary Douglas, Nigel Barley and Desmond Morris.
She currently maintains a working practice at ‘The Grid Studios’ Warwickshire, her studio space is shared between a morgue and a maternity unit. Furthermore, she is committed to a rigorous work schedule combining teaching with her practice and role of carer to her autistic child.
Teresa’s work is made to reflect the consciousness of all humans regardless of nationality or culture, her intrigue lies with human stories. After working on large scale installations / sculptures up to 4metres in length, Teresa has moved to a more intimate scale, where she explores domestic scenario’s, miscommunication, isolation and disconcerted connections in human relationships. The current theme examines changes in behavioural patterns due to telecommunications technology use.
A member of The Royal British Society of Sculptors, Teresa continues to exhibit her artwork both nationally and internationally, she was recently selected and nominated by Richard Deacon CBE, as prize winner at the APT Open 2015, London, and shortlisted for The Andipa Gallery/Spotlight 2015 prize.
Inspired by a moral upbringing, I possess an ethical consciousness along with a fascination for the question How do Humans Behave?
Through the medium of sculpture and drawing I explore the tenuous relationship between man, his society, religion, law, and kinship. Isolation and miscommunication resulting in disconcerted connections are most attractive. There is a need for me to express this in ways that become both, voyeuristic and participatory.
Domestic tableaux echo nostalgia for congruity. Specific body language and positioning combined with an absence of facial expression and skin tone raise questions about scenario and relationship.
The ordinary becomes the extraordinary when scale is reassessed. A straightforward scene of exasperation becomes freeze framed from a sequence of events, allowing the viewer to write his or her own screenplay.