My practice is very much process based with a respect for the intrinsic qualities of the materials I use. I choose materials and processes that require both an investment of time and physical labour. This allows me to have an intimate relationship to the work, exploring surface, substance, movement and density.
I feel that visual perception is the initial and cursory layer of the many ways to apprehend and know our environment. I am interested in the integration of the body and object through tactile engagement, sound and smell.
I often combine materials in an attempt to make a homogonous whole out of disparate parts; consequently the forms I create tend to inhabit a mutable territory. They are both strange and awkward yet allude to the familiar terrain of landscape and body. They are arguments and truces that occur within themselves, distant from this world but made from its very substance.
Throughout the development of my artistic practice I have used a wide variety of techniques but they have all shared a common denominator, an ongoing interest in physical knowledge. I carve, mould, cast, glaze or edit video, combining traditional skills with contemporary concerns. I have a long standing fascination with geologically occurring demarcation zones, like mountains, forests and beaches, and have become interested in how these translate to our fabricated environments and virtual technologies.
More recently I have been developing a body of work that explores how dependencies build up from those found in the bionomics of a rock pool to the more detrimental parasitic kind, an example of which is ‘Nest’ Many of these works are related, coming from a domain that exists in my imagination. Their narrative occupies a place between reality and fantasy, investigating the potential of other worlds that could exist hidden within our own.