The nuclear issue has underpinned my art practice for several decades. It brings together two “ends” of my career.  My early work was driven by my politicisation gained through the experience of working in London’s urban environment with feminists, union activists and radical educationalists. I was a participant in the anti-nuclear and women’s art movements of the late 1970s and 1980s. During this time I addressed the combination of nuclear and feminist issues, both in activist and visual terms, in The Nuclear Family which developed over seven years. In the 1990s with changes in global politics and the art world, I began to work in very different contexts and situations, with new technologies, increased mobility and within small communities after I moved to Shetland in late 2000. In 2012 I began to work with Susan Timmins to investigate the Cold War in Shetland, and we formed an on-going collaboration, Cold War Projects.

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