Artist Statement

Today, I observe a disconnection between the artist's studio and the gallery space. Within my installations, I import studio arrangements and objects of process into the exhibition space in order to bring the intimacy of the process of making into the experience of the viewer.

Coming from a photographic background the parallels between the value of the photographic negative and that of the mould became apparent very early on. Usually, moulds, jigs, and tools are seen as unappreciated by-products and discarded from the viewer, whereas in my work I present them as objects in their own right giving them full authority. This raises questions about the commercial expectation and value of the finished object in a consumerist society and how we read objects that surround us in our daily lives.

Through the use of different techniques, I constantly flip, copy, turn, repeat, and mutate objects. This enables me to push form into abstraction giving rise to something new and unknown. The spatial relations between the objects create a sense of connectivity and familiarity reflected by the positive and negative imprints of the moulds, casts and models. This creates a language of internally consistent objects, that function as a riddle or game for the viewer to explore.

The interaction between the objects and the space is important. Sometimes the work functions as a sort of prosthesis, other times objects of space are decontextualised. In my installations I invite the viewer to rethink the making of objects, the behaviour of the space and how it could be animated, changed, or extended into something else.

Currently I mostly work with natural materials such as ceramic, plaster, latex and wood.