About my art-making processes
I construct scenes containing everyday objects and fragments of posed figures. Their suspension and placement create frozen moments (real or imaginary) in time. Making my sculptures and installations is a pendulum movement between casting and drawing. My art-making process is an archaeology of touch.
"Raining Tools" from "Future ReCollections" solo show at West Gallery, Quay Arts
The vignettes I create often blend physical and digital experiences. My suspensions and reconstructed forms are empathetic studies of contemporary working and domestic scenes and also objects that open a lived space between self and the world. The spatial qualities of my forms and their relations to fragments of other objects – particularly when exposed to a range of light sources- intensify their localities and invite narrative reflections by the viewer. They invite a process of remembrance and recollection for the future, an extracting of the significant from the transitory and the ephemeral.
Drawing is an important part of my art practice, often as a reflective, time-based activity. I use a wide range of drawing media and methods, physical and digital.
"Bulls, Mules & Madmen" oak gall ink drawing, Group show 2025
Charcoal & tissue installation "Truncations" solo show ARCH Window Gallery, Ryde H:2.6m W:2.3m D:1.4m
Sometimes I include interactive digital elements - such as QR codes to give people the choice of how they would like to experience my artwork - in silence or with soundscapes. I often include my planning drawings alongside my installations, as I find people are as interested in my exploratory processes as the final production.
"Washing" paper construction H:2m W:1m D:1.5m & digital plan drawing
I've been making sculptures and installations using paper cured in linseed oil with different light sources since my time as a student at Ruskin School of Fine Art, Oxford.
Early ife-size "Shrine" gum-strip construction
I put together a combination of materials and casting processes via exploration and reflection on feeling homesick at the time and wanting to make my sense of loss more visible/tangible.
Paper casting & construction continues to be relevant for me to realise ideas around past, current & future histories of places, work and people. Initially I thought the materials would be ephemeral and wouldn't last, but my sculptures have proven to be far more robust than they look.
Making paper casts. Photography by Sam French.