About my art-making processes
I use paper cured in linseed oil to 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 with the paper. My art-making process is an archaeology of touch.
"Raining Tools" from "Future ReCollections" solo show at West Gallery, Quay Arts
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.