Ethics of Care, 2022 - ongoing
Half planter, half bench. It accommodates seven plants and two or three humans at once.
Structures of Support, 2022
Many thanks to Isobel Leonard, Fiona Goss, Lucy Mulholland, Angeni Perez-Jamieson, Kristel Bodensiek, Lucy Hatton, Will Jack, Frances Burnett-Stuart, Rachel Hutchison, and Ophelie Napoli for lending me their supporting hands. You are all legends.
Untitled (Cake), 2022
A fully edible sculpture that was served to the exhibition goers.
Grass is Greener Inside (North and South), 2022
These patches of grass have been grown over a period of 11 days in two rooms within ECA under different light conditions.
Monument of Impermanence, 2022
Twelve hollow wax pillars from 20 to 220 cm high, arranged in a circular ensemble on a thin layer of sand. Two sources of coloured light have been used to accentuate the translucent qualities of the material.
Interactive Column III, 2022
This modular sculpture can be interacted with and arranged by the viewers in any way they like. It will be installed in the physical graduate show in ECA's main building.
My work has always existed without me being aware of it in a world of its own, a spacetime continuum in which there is no room for errors or worries, a world where dreams are the centre of it and very much like dreams themselves often illogical and nonlinear offers briefly an escape from our three-dimensional reality. I seek to inspire and spark curiosity with my work because ultimately curiosity is what keeps me going and advances my practice every day.
The scope of my practice and the interests that it encapsulates has been consistently expanding over the past couple of years, it now includes relational art and viewers participation is highly encouraged. It currently exists at the intersection of art, fiction, technology, architecture and design.
Time and light are a constant presence in my work and they are the elements that connect everything. We all have unique perceptions of linear events and what I am aiming to do is facilitate individual experiences by attempting to break limitations, stretch, bend, and treat time and light as physical materials. By using both organic materials and more traditional ones like steel or concrete, where the effects of time are less visible over short periods of time, I attempt to uncover the complicated relationship we have with others, the natural world and everything else that surrounds us.
Special thanks to Catriona Gilbert, Uist Corrigan, Gosia Walton, Chris Britee-Steer, and the other ECA technicians; without your help none of my projects would be complete.