My work considers presentness, inner experience and attachment. It operates in cycles of iteration and takes form as objects, installations, and speculative fiction.
My current work (please refer to instagram) explores unconventional methods and materials for embossing. I use forced impressions into surfaces as a mechanism to explore visibility and invisibility, then add lighting to conceal and reveal surface states. The processes produce disrupted surfaces that evoke the subtle energies of private imperfections and injuries.
My work is an examination of the ghostly state of the emboss as something caught in-between. The ghost, neither dead nor alive, is captured and held. These embosses are constant iterations of a process through which I am investigating my relationship with concealment and revelation, shifts in perception, disappearance and visibility.
In my large scale installations one of my objectives has been to create moments of presentness in the audience, so that the space fully occupies all aspects of their experience. I have often used darkness to slow people down, giving them solitude and allowing them to feel their way through the work.
In small scale sculptural works, such as Attachment Theory, I have used objects and assemblage to experiment with and re-arrange representations of relatedness. In a play between objectification and subjectivity, identities shift, past narratives are suggested, and protopian future configurations emerge.
Over the past three years I have been writing speculative fiction. Objectness is a recurring theme; humans often find themselves turning into objects or developing obsessive relationships with the non-human. The process is porous; writing and sculpture have become iterations of one another. I use the short story form to act as a companion to the embossed works. Rather than narrating the imagery, speculative fiction acts as a portal into a realm of telling stories about damage, transformative possibilities, and otherness.