Discarded, lost and mass produced objects appear regularly.   Underpinning this source of inspiration are thoughts about the complications and dilemmas of navigating the global consumer environment, as well as a delight in the discovery of exciting objects in markets, on the road, in scrap yards and in pound shops.  See also ‘In Conversation’ and ‘In Response – The Perrin Gallery’ below.

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Pink Play. Arrangement A.


Groups of works are a regular feature. Found and made objects are arranged and rearranged to create interesting interactions.  At the core of this work is a belief in the power of conversation and in a non-hierarchical approach to sculptural objects and materials.  .  

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Outdoor works are usually site-specific and always placed in such a way as to build connections with the surroundings.  There is an exploration of how colour is noticed in a complex visual environment, as well as well as of how people interact with public artwork.

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The Perrin Gallery, Leighton-House-1. Photo- Anne Purkiss


Responses to artists’ or individual works.  At art school Clare spent a year reacting to Veronese’s ‘Family of Darius’, in the early 2000s she installed work in Le Corbusier’s Unite d’Habitation and in 2011 and 12 exhibited work inspired by Lord Leighton in his house.

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Paper Economy


Investigations into the physical, visual presence of technology, computers, paper and how they change our surroundings and the way we see and create.

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Black and white is like a home base to which the work intermittently returns.  There is a rejection of the idea that it is not a colour and Clare uses it at full opacity, often in stark contrast to white.  The work she makes with it touches on loss and absence and is usually followed by a period working with a light, bright palette.

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