Through exploring the relationship between tactility and aesthetics, my practice takes a multi-disciplinary approach to sculpture. By intertwining artisanal elements with technological undertones, my work creates a dichotomy between the consumable quality of the manufactured and the delicate nature of the hand-built as a radical pursuit. Sustainability has become embedded into my artistic identity as a bi-product of my semi-nomadic & permacultural upbringing, further emphasised by being situated between London and the rural countryside. My work flirts with concepts of duality, through the interchanging historical connotations of my surroundings and the dynamic between material consumption and ecological awareness. These conflicting notions subjugate and outline the purpose behind my work by reinforcing the significance of creativity in addressing critical conversations within society. Subsequently, my work oscillates between ominous bohemia, sci-fi and environmental infographics whilst conveying a tentative narration of my situatedness in modern society and how it conflicts with mainstream dialogues, creating an overarching sense of polarity in my sculptures.
My love for craftsmanship and multi-media delineates my works nuanced dialogues, to conform to their peculiar modus operandi; utilising modern sustainable materials, I have experimented with using art to demonstrate a symbiotic relationship between nature and society. Beyond this, my work frequently incorporates ceramics, stained glass, and digital elements.
These underlying principles contemplate broader research fields, such as Biodesign, environmental architecture, urban geology, and how this intertwines with research in humanities, and philosophical concepts such as post-humanism, tech-colonialism and the altergorithm. Adapting art to conjoin with other disciplines to create an accessible platform for societal introspection is another incentive behind my work. Through manipulating stained-glass installations, My work incorporates these narratives by subjecting a tranquil, yet abstract ambience onto its audience, by subverting the beauty of stained glass to represent the Western world's history in negligence of humanitarian and environmental crises.
My current work draws attention to 'elemental colonialism’, inspired by 'Astrida Neimanis's research surrounding the presence of colonial toxic deposits in bodies of water, and research conducted by Forensic Architecture. My artistic inspirations are varied, both contextually and atmospherically, yet the artists currently most prevalent in my practice include Hito Steyerl, Anastasia Sosunova, Katja Novitskova, Lawrence Abu Hamden, Anicka Yi, Aurélie Blanchette Dubois and Ant Farm architects.