Emma graduated from Leeds Metropolitan University in 2007 gaining a First class degree with honours in Contemporary Creative Practice. She won a scholarship to study her MA in sculpture at the Royal College of Art as well as receiving offers from Chelsea College of Art and Parsons the New School for Design, New York.

Past shows include Videoclub and Film London Artists' Moving Image Network present: 'Selected UK' - North West Film Center - Portland / Seattle International Film Festival / Artists Television Access - San Francisco / No Festival Required @ Space 55 - Phoenix / Exploded view Gallery - Tucson / Echo Park Film Center - LA / Spectacle Theatre - New York / Hillyer Art Space - Washington DC, Selected III - Nottingham Contemporary / CCA - Glasgow / FACT - Liverpool / Whitechapel Gallery - London and other UK venues, ‘adapt/erase’, &model, Leeds, Salon Art Prize, MRA, London and Low Lives 4, New York and other locations worldwide.

Emma won the Sculpture Category at the 2012 Salon Art Prize, selected by Godfrey Worsdale - (Director, BALTIC centre for contemporary art).

She was shortlisted for the Coutts Sculpture Prize 2012, the Red Mansion Art Prize 2013 and Bloomberg New Contemporaries 2013.

In August this year Emma was awarded a 3 year studio and bursary award from the Royal Borough of Kensington and Chelsea and Chelsea Arts Club Trust.


I create performance and sculpture, incorporating video and sound by drawing upon everyday happenings as my main source of focus. Over the past few months I have been exploring painting and trying to understand more about the medium.

Through my practice, I explore a number of themes, such as longevity, use of material, absurdity, trend, rebellion and humour. I try not to limit myself to what these themes should be in terms of setting rules. I work impulsively; often in response to the space around me, a particular situation or an encounter with a person or object. My work can therefore manifest very quickly as much as it can later disappear.

When creating work I try not to be suffocated by technique. By this I mean that it is often the concept behind the work that holds the most value. The aesthetic can become a secondary element.

I have an eclectic approach to materials. I am fascinated by the everyday and try to use it as a kind of material. By mocking or shunning the use of traditional materials used to create art, I question their appropriateness in current times. This notion comes from an uncertainty about where I stand with these materials and how they relate to the ever changing trends in contemporary art.

I currently place more importance in creating a situational presence in my work rather than leaving a material legacy.