Born in Bristol, England, but brought up in North Wales, Victoria now lives and works in Cornwall. Following her BA, she spent many years travelling around the world. This led to her designing and importing clothes under her own label 'Kreecher'. In 2009, Victoria moved to Falmouth to study for her MA and to return her attentions to full-time creative practice as a visual artist. She has varied experience exhibiting work in both solo and group exhibitions in England and Wales and has worked on a number of commissions.
Since 2009, Victoria's work has naturally separated into three areas: observational drawing, drawing from the subconscious and printmaking, which has periodically included pattern design.
Drawing from observation is the foundation of Victoria's practice as a visual artist. She regards it as an ongoing process of discovery that feeds her work in all other areas.
Her intuitive drawings and paintings deal with imagery from the subconscious. Victoria considers intuition to be more of the essence than intellectual perception and often only discovers the meaning of her work through its externalization. Moreover, order and significance emerge through the work itself and intellectual understanding may take some time to become clear. As this body of work grows, a subconscious visual language is becoming evident through the repetition of symbols, characters and themes.
Victoria is interested in visual pattern as a form of rhythmic ordering that resonates with the human psyche on a profound level. Symmetry is a mirroring, a duality. Many reoccurring themes in her work are also sets of opposites; surface and depth, the dark side of Nature and its bright beauty, birth and death, pattern/order and chaos. This interest in pattern led her into printmaking as a means of repetition. She fell in love with the nostalgic quality and haunting beauty of cyanotypes - or blueprints - and continues to experiment with the visual possibilities that this method of printing has to offer. She is concerned with capturing the essence of the mood that first attracted her to cyanotypes; a delicate and beautiful serenity.
Victoria firmly believes in beauty as a value that is as fundamental to human needs as truth and goodness. She recognizes that Art should contain substance and meaning, but feels it has a more basic function than intellectual stimulation; in the words of Roger Scruton:
Beauty lifts us out of our ordinary lives and
transports us to a place of contemplation
and if we ignore it, we may find ourselves
in a disenchanted spiritual desert.