As an artist I have always believed that process and practice of art has many permutations. Creativity in any form for that matter; painting, drawing, sculpture, or craft, brings people together across backgrounds, ages, and abilities. It is a catalyst for connection, wellbeing that enriches communities. The arts offer a bridge to living well and connecting with others on many levels, social and cerebral.  This belief has guided almost three decades of work in the creative industries and continues to shape my work, my projects, and collaborations today.

I grew up in the 1970s in Yorkshire. Politically turbulent, but also joyful for a child at that time, it was a time when almost everything was crafted for many of my generation from first principles. Vegetables and herbs were grown often in the back yard; things were created, sewn or built from scratch, if they weren’t affordable. That was our life. Rather than focusing on the scarcity however, there was much joy in the process of creating, a simple sheet a paper held a lot of excitement and opportunity. This excitement became the basis and the foundation of my interest and later career in the arts. I was passionate enough to pursue a road less travelled; a working class girl from Shipley, I let my inner voice guide me as far as I could, oblivious to the resistance of ‘choosing’ an unorthodox vocation. 

Somehow I managed it, whether it was tenacity, alchemy or not allowing anything to stand in my way, I graduated with a Masters degree in Fine Art from a London University at the age of 25.  And so began my career, teaching undergraduates, and hoping back then, to pass on what I had learned.  Whilst rewarding and prestigious, teaching at higher education level felt exclusive, in the 1990s, especially to a niche demographic. I felt that art should not be confined to galleries, classrooms and art college. It quickly became clear that my chosen vocation stretched beyond academia and a few glass ceilings needed to be smashed!

After receiving a bursary from the Arts Council of England, specifically for engaging under-represented communities into the arts; this changed the trajectory of my work and focus. Bringing cultural diversity into galleries and museums and institutions per se, meant exploring how to make art relevant, resonate and how it can be a conduit to connect people and communities; bridging  generations, experiences, and perspectives. That philosophy became and has remained central to my practice.

A move to Australia in 2009 brought another plot twist. In the UK, I had gained valuable experience in audience development for galleries, working with groups who were culturally or socially excluded from traditional access to the arts. But in a new country, I suddenly found myself on the outside; disenfranchised and faced with the same challenges. The irony of suddenly being excluded myself which I hadn’t anticipated coupled with building a new life and a career in unfamiliar territory hit me hard. It was like holding up a mirror, but it gave me an even deeper understanding of how important belonging is, and how my approach to creativity can open the door to it. Art was opening doors, creating shared ground even where none seemed to exist. My own sense of social isolation brought this philosophy into sharper focus deepening the conviction to keep moving ahead. 

Fast forward a decade after returning home to Yorkshire, I was drawn to the idea of establishing spaces where creativity can flourish outside ‘traditional’ art institutions. I began working closely with the hospitality industry and restaurants, extending my aesthetic to designing and delivering beautiful menus for events across some major venues in Leeds and Manchester, which included Harvey Nichols and Dakota Hotel.

More recently an opportunity arose closer to home at Audley Scarcroft Park. Here I am currently running art classes for owners in this stunning retirement village located in north Leeds, who come, not only to learn a new skill but also to connect, exchange stories, and to discover talents they never knew they had.

 One participant reflected: “I had never thought I could paint. Now, living here, I feel like I’ve become an artist.”  

Those moments are what make this work so rewarding. My ethos has always been clear: no dumbing down. I believe everyone deserves the same rigour and respect, undergraduates or communities, treating everyone as capable of complex thought and creativity. Far from intimidating, this approach is I believe is liberating. People discover that they are not only able to engage but thrive in environments that challenge and stretch them. Beyond technique, these classes underscore the vital link between creativity and wellbeing. Art sharpens the mind, stimulates memory, and improves dexterity. Socially, it offers connection and belonging, combating isolation and giving people purpose. Creativity is not just enrichment — it is essential to living well.

This philosophy runs through everything I do. Alongside the art classes, and bringing communities together through events and beautiful food, I am also actively fundraising for Martin House Children’s Hospice, where creative events serve both to raise vital funds and to bring communities together. The blend of art, compassion, and collective action reinforces my belief that creativity has the power to change lives in tangible, practical ways.

Looking ahead, I am expanding my programme of work into new areas that combine creativity with themes of health and social awareness. In October, during Menopause Month, I am leading a series of workshops designed specifically for women and focussing on midlife and wellbeing. These curated workshops will create space not only for creativity but also for conversation around the menopause. 

At the heart of all these projects is the same integrity I brought into my very first class: never dilute the challenge, and always frame creativity as a powerful tool for connection and wellbeing. Whether in an art studio, a hospice fundraiser, a restaurant, the principles remain constant. Creativity creates connection and connection strengthens communities. And communities, in turn, nurture the individuals within them.

 I am reminded of the transformative power of this cycle. One class member captured it perfectly: “Creativity has no age limit. It is a bridge to confidence, to conversation, to wellbeing.”

That bridge is what keeps me inspired after three decades in the creative industries. It is why I continue to teach, to collaborate, and to design new projects that marry creativity with wider themes of health, inclusion, and social change. Art is not separate from life. It is woven into it, shaping how we see ourselves, how we connect with others, and how we find joy. And in times when wellbeing feels fragile, that role is more important than ever.