And my next canvass is Granville Underpass in Reading. It is 27m each side and connects Southcote to Prospect Park. This is a commission for Reading Council and a huge thank you to them for this opportunity. I will be working with local children's community groups, running workshops for input into the design. Work starts at the end of September. CAN'T WAIT!
*** Postcards now for sale. £2
REFLECTIONS OF HOME
Art exhibition by artist Dr Jenna Fox - At Ebb and Flow Reading, 19th - 28th June 2026
What makes a home? Is it a structure, a memory, a body, or a feeling we spend our lives searching for? Reflection of Home is an exhibition that explores the shifting meaning of home through themes of safety, estrangement, identity, and belonging. The exhibition examines how domestic spaces shape who we are — and how they can both comfort and unsettle us.
At the heart of the exhibition is the tension between the familiar and the uncanny. The home is often imagined as a place of refuge: intimate, protective, and deeply personal. Yet domestic spaces can also become sites of anxiety, isolation, displacement, or transformation. Rooms appear distorted, objects become symbolic, and everyday rituals take on unfamiliar meanings. Through altered interiors, fragmented architectures, and imagined dwellings, the works invite viewers to reconsider what lies beneath the surface of comfort and normality.
The exhibition also asks how identity is constructed through the spaces we inhabit. Our homes carry traces of culture, class, migration, memory, and desire. They become extensions of the self — curated, inherited, temporary, or imagined. For some, home is rooted in geography or family; for others, it exists in movement, digital spaces, communities, or acts of survival. Reflection of Home reflects on the emotional and psychological landscapes we build in response to a changing world.
Moving between tenderness and discomfort, familiarity and estrangement, the exhibition creates a space where visitors can reflect on their own relationship to home: what it protects, what it conceals, and what it reveals about who we are.
The exhibition showcases new work, 8 sculptural and installations and paintings.
Art exhibition by artist Dr Jenna Fox - At Ebb and Flow Reading, 19th - 28th June 2026
What makes a home? Is it a structure, a memory, a body, or a feeling we spend our lives searching for? Reflection of Home is an exhibition that explores the shifting meaning of home through themes of safety, estrangement, identity, and belonging. The exhibition examines how domestic spaces shape who we are — and how they can both comfort and unsettle us.
At the heart of the exhibition is the tension between the familiar and the uncanny. The home is often imagined as a place of refuge: intimate, protective, and deeply personal. Yet domestic spaces can also become sites of anxiety, isolation, displacement, or transformation. Rooms appear distorted, objects become symbolic, and everyday rituals take on unfamiliar meanings. Through altered interiors, fragmented architectures, and imagined dwellings, the works invite viewers to reconsider what lies beneath the surface of comfort and normality.
The exhibition also asks how identity is constructed through the spaces we inhabit. Our homes carry traces of culture, class, migration, memory, and desire. They become extensions of the self — curated, inherited, temporary, or imagined. For some, home is rooted in geography or family; for others, it exists in movement, digital spaces, communities, or acts of survival. Reflection of Home reflects on the emotional and psychological landscapes we build in response to a changing world.
Moving between tenderness and discomfort, familiarity and estrangement, the exhibition creates a space where visitors can reflect on their own relationship to home: what it protects, what it conceals, and what it reveals about who we are.
The exhibition showcases new work, 8 sculptural and installations and paintings.
Here is the abstract for my thesis. July 2025. Of Other Spaces.
This thesis explores the implications for an artist using an alter ego as a space, physically, virtually, conceptually and psychologically, to trial alternative versions of self, creativity and ‘personal’ narrative as a mechanism to produce new artworks.
My PhD studio experiments and the creation of three alter egos resulted in a joint exhibition and the development of a substantial body of artwork. My use of alter egos tapped into autobiographical stories that enabled new perspectives and experimentation with my past narrative, which framed the thesis. This was informed by multi-disciplinary research into artists and writers who use an alter ego from art history and theory to identify relevant artistic practices, including Cindy Sherman; Jimmie Durham; Laura Albert; Marcel Duchamp; David Bowie; Grayson Perry; Juliana Huxtable; Johnny Vegas and Cao Fei and Michel Foucault’s conceptual model of heterotopic space. This research was supported by interviews with practising artists who utilise an alter ego.
The research proposed that alter egos offer the artist the opportunity for self-knowledge by testing alternative versions of self, perspectives, and narrative. They offer a protective mask that distances the artist, enabling the exploration of conflicting issues. They may restrict the artist’s practice, be time-consuming, and confuse the viewer and art market, which seeks clear definitions of the artist’s ‘back story’ and context. Using an alter ego may be problematic for payment, obtaining grants, entering open calls, or being interviewed and is ethically complex.
The alter ego is a heterotopic space operating simultaneously as the raw material, the process, the art form, the curator, and the creator. This ‘space’ is not frictionless or cut off from ‘reality’ but allows the artist to play with spaces such as life stages and time, to re-enact past experiences from a different perspective and test alternative methods of performing and production. My research journey evolved into alter egos that changed from passive and controlled by me to becoming active, creative drivers whose narratives were formed from autofiction, garnered from my past, which created unexpected creativity that is different to my art practice.
This thesis explores the implications for an artist using an alter ego as a space, physically, virtually, conceptually and psychologically, to trial alternative versions of self, creativity and ‘personal’ narrative as a mechanism to produce new artworks.
My PhD studio experiments and the creation of three alter egos resulted in a joint exhibition and the development of a substantial body of artwork. My use of alter egos tapped into autobiographical stories that enabled new perspectives and experimentation with my past narrative, which framed the thesis. This was informed by multi-disciplinary research into artists and writers who use an alter ego from art history and theory to identify relevant artistic practices, including Cindy Sherman; Jimmie Durham; Laura Albert; Marcel Duchamp; David Bowie; Grayson Perry; Juliana Huxtable; Johnny Vegas and Cao Fei and Michel Foucault’s conceptual model of heterotopic space. This research was supported by interviews with practising artists who utilise an alter ego.
The research proposed that alter egos offer the artist the opportunity for self-knowledge by testing alternative versions of self, perspectives, and narrative. They offer a protective mask that distances the artist, enabling the exploration of conflicting issues. They may restrict the artist’s practice, be time-consuming, and confuse the viewer and art market, which seeks clear definitions of the artist’s ‘back story’ and context. Using an alter ego may be problematic for payment, obtaining grants, entering open calls, or being interviewed and is ethically complex.
The alter ego is a heterotopic space operating simultaneously as the raw material, the process, the art form, the curator, and the creator. This ‘space’ is not frictionless or cut off from ‘reality’ but allows the artist to play with spaces such as life stages and time, to re-enact past experiences from a different perspective and test alternative methods of performing and production. My research journey evolved into alter egos that changed from passive and controlled by me to becoming active, creative drivers whose narratives were formed from autofiction, garnered from my past, which created unexpected creativity that is different to my art practice.
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COMPLETED March 2025!
It's a BIG one 81m (or ½ a mile of painting).
It is one of my life goals to create a huge, immersive space in the public realm and here is my chance to do this for West Swindon Council. A huge thank to them for selecting me.
It's a BIG one 81m (or ½ a mile of painting).
It is one of my life goals to create a huge, immersive space in the public realm and here is my chance to do this for West Swindon Council. A huge thank to them for selecting me.
"Reading Ballad" - the physical piece, 2.4m x 1.2m is on show at The Biscuit Factory in Reading.
Solo show at Guildford Cathedral - 23rd May - 30th June 2023
Featuring an installation outside the entrance to the cathedral, the two huge paintings here, that will flank the doors and flowers along the nave.
Installed at Reading station throughout 2023. "Reading Gaze" and "Caversham Meadows" 2.6m x 1.2m
I am so excited to have been selected for the Wells Contemporary 2022 with "If not now, when?".
This installation was placed outside and uses flowers connected to Wells Cathedral depicted in the carvings, stained glass windows and embroidery. Roses, daises and thistles are featured in 24 of the Embroideries in the quire. There are also herbs such as the nettle, lavender and balm to highlight the herb garden at Bishops Palace established by William Turner in 1551 which highlights the powerful medicinal properties of flowers. The installation encouraged consideration for their importance ... ecologically and for the soul. The title of the installation suggest we need to stop and reflect and poses the questions of global warming and the need to care for our planet. Flowers and especially roses are an important symbol for the church. The rose is the symbol for Mary' (Jesus' mother) and the reason the rosary is so named. There are also leaves that mimic the fauna at the top of the columns in the South Transept, further linking them to the building. To summarise - they connect to the Cathedral, encourage debate around care for the planet and for reflection and contemplation and "taking time to smell the roses".
Wells Cathedral, Wells, UK from Saturday 30th July to Sunday 28th August 2022
@wellscathedral
Installation works judges this year were:
Curator Jacquiline Creswell @visualartsadvisor
Artist Clare Burnett @clareeburnett
This installation was placed outside and uses flowers connected to Wells Cathedral depicted in the carvings, stained glass windows and embroidery. Roses, daises and thistles are featured in 24 of the Embroideries in the quire. There are also herbs such as the nettle, lavender and balm to highlight the herb garden at Bishops Palace established by William Turner in 1551 which highlights the powerful medicinal properties of flowers. The installation encouraged consideration for their importance ... ecologically and for the soul. The title of the installation suggest we need to stop and reflect and poses the questions of global warming and the need to care for our planet. Flowers and especially roses are an important symbol for the church. The rose is the symbol for Mary' (Jesus' mother) and the reason the rosary is so named. There are also leaves that mimic the fauna at the top of the columns in the South Transept, further linking them to the building. To summarise - they connect to the Cathedral, encourage debate around care for the planet and for reflection and contemplation and "taking time to smell the roses".
Wells Cathedral, Wells, UK from Saturday 30th July to Sunday 28th August 2022
@wellscathedral
Installation works judges this year were:
Curator Jacquiline Creswell @visualartsadvisor
Artist Clare Burnett @clareeburnett