My practice operates in between the modes of sculpture, installation and drawing; as an investigation of material relationships with ourselves and our surroundings, alongside neighbouring elements of the familiar spatial bodies and the new. A meditative system of methodical production yields a copy and refinement of an object’s shed skin. This repeated cast is the consequence of a labour intensive process and desire for quality and craftsmanship, to explore the line between the aesthetic and the peculiar embodiment of existence.
Materiality plays a central role in the playfulness of my practice. The idea that an object can suggest movement, fiction and nostalgia, while simultaneously not making sense in the context of a studio space is highly important to the way I work. I want to make a scape of being that is verging on the edge of utopian, as a place between and then perhaps lost down the side of the sofa.
In the development of the object it reaches an island on a material crossing between the original and the new. These cross ways ask the questions: how far can a shape be removed from its context and still make sense? And in the reduction of an object can it still be named as such? In essence, a slice of pedestrian.
The playground of my practice acts as a toy for the eye to swing between the minimal and the whimsical turf of sculpture. As a child the sculpture must be nursed into the playscape structure of the gallery taking different configurations to develop itself.
Like a spam email from an unknown user my practice does not have a definitive lesson, but may contain viruses of coincidental relevance.