Written by Marcus Cornish, Sculptor and Faculty Member at the Royal Drawing School

Daisy has had themes that have continually motivated her. Her personal history gives her a strong emotional connection and passionate conviction towards those that haunt history as slight presences. She pursues the traces they leave behind to reveal them through her interpretation, like an archaeologist. So, the tangible and intangible are subjects very important to her. This way of thinking seems to draw her towards objects found in context, as well as objects reformed sculpturally as she attempts to examine the material and the immaterial; what reveals itself as physically present or what is present by suggestion. This I find in her art to be a fascinating premise for exploration and one that she again and again succeeds in convincing us with.

Daisy's skilful interaction, curation and choreography of different environments and the objects in them, her use, interaction and reformation of these objects, her imagery in terms of drawing, printings and photographic processes all aimed at the revealing the lost, make her practice very wide ranging and complex.

The resurrection of what has been lost has led Daisy naturally to the subject of women and their place in relation to male domination and processes. These women's presences named or hardly named in 'history' is extremely important to her. She is a real 'seeker' trying again and again to touch the energy that has motivated the lost and that has held them together. Those that history has hardly notices, but in Daisy's terms, have special roles or optimise a way of thinking outside the 'mainstream', or women that contribute vitality as a powerful force and call into question the distinction between the micro and macro.