The uncertain performance of an aging self as an individual and social construction moving in the spaces between the known and the unknown, between practices as artist, PhD researcher, writer and teacher, underpins the installation. Installation references mixed perspectives as artist/researcher, teacher and writer addressing and questioning her own and social constructions of the post-menopausal self through art and research.

Individual works reference both individual and social constructions of menopause including communicating of ideas about women’s embodiment, value and appropriate behaviour.  Secrecy, change, artificial/natural, the ephemeral, mixing, spaces between and the feminine are important.

Cabinets reference the way experiences including arts and artistic experiences are still catalogued and communicated and represented, especially the education others through visual representation. Harking back to museum style practices calls into question the educative role, and the accepted role of the artwork to be on display.Inclusion of mixtures of materials, furniture, incomplete and rejected works undercuts perfection of works enshrined in gallery, while pointing to artistic practice which (like women’s experiences) is messy, chaotic and socially constructed while being pinned to ideas of presentation, aesthetics and selection.

Pinning enhances ideas of choice and challenge about the way women’s aging is re/constructed, as does the ephemeral and artificial nature of the materials.

The studio table, the writing desk museum cabinets and the digital work further reference diverse practices which go beyond biology of artist.