In writing and making art, my themes of drapery, painting, portraiture and pilgrimage elide and inform one another, making the progress of my work not linear but rather elastic and broad ranging.

Early photo-booth collages arose from scrutiny of self-portraits that in turn led to writing books and curating exhibitions. The essay, Golden Years?1905-1950: a non-digital world (Louisiana Museum of Modern Art) 2012, continued research for; Insights: Self-portraits (The National Portrait Gallery, 2005) and Mirror/Mirror: Self-portraits by Women Artists (NPG & Watson-Guptill, N Y. 2001). Warhol’s Dream: the self multiplied, introduction to 500 Self-portraits (Phaidon, 2018) and Essence of Memento Mori, in Basquiat by Himself (Hirmer Verlag) 2019 continue the study.

How to Read Painting : a short survey of Western European Painting (Bloomsbury & Rizzoli) 2014 & 2015, is still in print (over 55,000 + copies) and on sale in The National Gallery London. It was the basis of an Exeter College, Oxford University Summer School 2018 & 19 and is translated into Chinese, Spanish, Turkish, Korean, Polish and Russian. The launch was supported by lectures at museums and galleries both in the UK and USA, research and travel funded by an Art Fund grant. In 2018, Madam and Eve, was co-authored with Kathleen Soriano (Laurence King) and my essay Erotic Cloth Echoes in Film, appeared in The Erotic Cloth (Bloomsbury Academic). Pictorial duel: Xenia Hausner and the dual performance portrait has a delayed publication date of 2021 (Albertina, Vienna).

Five solo exhibitions in the USA included a retrospective at The University of Massachusetts, in 2001, Lucas Schoormans Gallery, New York, in 2000/01/06 and Gallery 339, Philadelphia in 2014.
A British Academy Grant enabled me to film the cotton industry in India and Light Curtain was the commissioned film projection for Cotton: Global Threads at The Whitworth Art Gallery, Manchester, 2012. Splicing Time: Rome and the Roman Campagna; Leverhulme Fellowship, 2016-17, investigated the emotional resonance of drapery. Connections with the C18th Grand Tour were explored with an innovative photographic installation at UCL’s. Art Museum as Artist-in-Residence and also at Compton Verney in 2020. Further Roman-inspired work was supported by the Cities Partnership Programme; Feu Follet, 2018 and Temporal Stabilities, 2020.

My artwork featured in History of Photography: Series and Sequences, at The Victoria and Albert Museum, 2015 and is in public Collections including, Tate, The Yale Center for British Art, George Eastman Museum, University California Museum at Berkeley, USA and The Museet for Fotokunst, Denmark, The Portland Art Museum, Oregon, The Whitworth Art Gallery, New Hall, Cambridge and the British Academy.