Artist Statement

Within my current practice, I mostly work with natural materials such as ceramic, plaster, and wood. Key themes I am investigating are: firstly questioning the hierarchy of objects within the artistic process in an age of mass production and copies. Secondly, ideas surrounding exhausting form and space through mutation, repetition and variation and lastly the relationship between the objects on display, the viewer and the space.

Coming from a photographic background the parallels between the value of the photographic negative and the mould in sculpture became apparent. Usually, objects of the process such as moulds, jigs, and tools are seen as unappreciated by-products and discarded from the viewer, whereas in my installations, I elevate them by presenting them as objects of their own right.

The use of mechanical reproduction processes raises questions about the value of a reproducible work of art and Walter Benjamin's idea of the aura of the original versus the copy. I am interested in how the process of standardisation has brought the object world to our doorstep and changed the spaces we inhabit.

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. I understand my work as a form of language, constantly translating from one stage to another. Languages are in a permanent state of flow and change, similar to the mutations I create.

An important component of my practice is how the work sits within the space and how the space activates the work. Through presence and absence, the viewer is invited to mentally playing and actively deciphering the language of the process by combining the different interconnected elements. When setting up my work I construct a narrative within the space, thinking of the viewer as a performer following a choreography.

Within my installations, there is a combination of provisionality and precision. Some pieces seem to be resting, waiting to be performed, whilst others are in exhibition mode. I am looking at blurring the boundaries between exhibition space and studio space whereas my sculptures connect the dots between the two. It is a way of stimulating our perception of the world around us and making visible what is unseen.