Photographic prints, light tube sculpture, instal in East London.

My first experience of collaboration in unit 1 was for the 24HR exhibition. Lizzie Cardozo had just taken us on a tour of Saatchi and Yates, and a painting by Benjamin Spiers caught my eye. My entire group where based outside of the UK at the time and we came to a consensus that the work should reflect the way we deal with the time difference. I began the artwork in Australia, by adding zzzz to Benjamin Spiers Spell painting. By the time I woke up she had a cigarette, chocolate necklace, noodles for hair and a pizza halo. To really acknowledge the space between us and the other Chelsea students the work was then printed in Australia and posted to the cookhouse. Knowing that it wouldn’t arrive in time the final piece was a postage receipt with a QR code to the digital work exhibited on @chelseamafa .

The title, How to be a domestic goddess is taken from chef, Nigella Lawsons name of the specific recipe section where I found the brownie recipe. I enjoy baking. Especially when I am questioning the world. Find good chocolate, good butter and good eggs. Follow the method, put all of my energy into creating a delicious baked good, cross fingers, and then hours later sit and eat a piece.

Filming this process was interesting, it didn’t feel like the escape that it usually would. It was my first time baking in London. Re-watching the footage I could feel the loneliness I was carrying of centuries of women who have come before me. But at the same time there was something liberating about baking for one. I can’t help but reflect on my own privilege as well as my own matrilineal line, every woman who has come before me other than my sister has been married with children by the time they were my age. I am here in London supporting myself and I have had the opporunty to invest in my own education as a 26 year old woman.

If it’s possible it’s a romanticised and realist short film that follows the simple story of baking in high quality black and white footage.

Drawing on Copeland’s 1983 Rumble Fish I wanted to question the era that my own film was being shot in. Blur the lines between the past, present and future. It’s really my own navigation of girlhood to womanhood and like Rumble Fish it’s a work that doesn’t have everything figured out.