Fruiting 2020

Fruiting is a fun, site specific installation at the Hidden Wardrobe, Old Northam. Inspired by a mushroom found within, it explores the wonderful world of fungi, puffballs and mycelium. Click on the image to find out more

Mango Chutney Virtual Exhibition 2020

Mango Chutney Online. 2020. Virtual exhibition with Lunar, a wearable sculpture.

Do I fit? 2019

Do I fit? 2019. Solent Showcase Gallery, Southampton. The rubbings comment on how we miss the minutiae; always rushing from one job to another and more often than not absorbed in our mobile phones. During her walks along Shirley High Street, she found herself reflecting on the diverse population and how people were communicating with each other. Struggling to find out where she fits within her own family and likens her feelings to being part of a giant jigsaw puzzle. Groups of the jigsaw puzzle

Lunarpause, 2019.

Lunarpause, 2019. Banana Split, Ripe, Old Northam Road, Southampton.

Lunarscapes, 2019

Lunarpause, 2019. Banana Split, Ripe, Old Northam Road, Southampton. Mandy’s installation Lunarpause, a series of sculptures drawn from her experiences as a mother, combining her concern for her adolescent children and a troubled state of mental ill health. At first glance these sculptures can be viewed as humorous and bordering on theatrical but which also contain a darker, shadowy ‘otherness’.

Tanoptic, 2018.

Tanoptic, 2018. K6 Gallery, Southampton

Tanoptic, 2019

Tanoptic, 2019. ReSo, Marlands Shopping Centre, Southampton.

Tanoptic, 2018

Tanoptic, 2018. Degree show installation, Below Bar Studios, Southampton. The inspiration for Tanoptic came from my concern with my teenage children’s use of social media and general digital dependence. Posting selfies that may be shared, copied and potentially downloaded by a stranger.

Oddball, 2019

Oddball, 2019. Hidden Wardrobe window installation. Old Northern Road, Southampton.

Chaiya Art Awards, Oxo Gallery, 2018

Genes at Chaiya Art Awards, London Oxo Gallery. Using old jeans collected from friends and family, Smith modelled this figure on her own body, while marking it with wounds experienced by her mother through episodes of illness and grief. The act of sewing connecting Smith to the memory of her mother whilst it also reflects the concerns Smith and her mother had felt at the time over the possibilities of passing down faulty cancerous genes to Smith’s children.