On Presence and Finding Form

When encountering a space, I become aware of movement evidenced: as traces of activity; in materials both belonging and transitory; the sensorial motion of light, smells and sounds that express the spatial but never fix it.  Whether commission, brief or idea capturing my attention, I pursue resonant elements through intensive practice-based research.  Out of the precarious curiosity this elicits, I begin work.  A multiplicity of materials, observations and data arise in the flow around theory and practice. Cerebral and embodied, these activities form the factual and intuitive premise of a propositional framework for practice.  Drawing, photography, sculpture, installation, film and print-making record my experiences and visually articulate them.

Interrogating these self-imposed parameters incurs unforeseen shifts and breaks.  Solving the problems of these morphing iterations becomes central:  transformations that serve as drivers for new systematic explorations.

At some point, works are encountered as outputs: literalised and presented to echo the frameworks through which they derived.

An expansive notion of collaboration implicates the audience, myself and all aspects of making in the reading of my artworks.  Sometimes I approach people, asking for help with my project, or attend to chance coincidences and lateral connections.  Such momentary happenings and entwinings with the wider world offer new understanding of space as my creative catalyst.

I see the physical and metaphorical spaces we inhabit as ‘practised place’.  Dynamic and fluid, it stands analogous to the frameworks I make.  Although planned and constructed, the lived experience of our presence there renders it subject to complexity and subversion.  From racing temporalities to settling points, punctuating the everyday, my frameworks only work for a while, revealing the intangible reverberances of a world forever in flux.

Here, in the interrelated currents of collective and experiential unconscious, my work is propagated and encountered as knowledge shared, if unspoken and unheard.


I am a fine-art practitioner who has recently completed masters level research in Drawing at UAL Wimbledon, London.  My particular concerns stem from the relationship around the processes across embodied drawing and its encounter as a form of collective experiential knowledge.  Alongside this practice, I also work in educational contexts as a visiting lecturer and participatory arts specialist.  Click here for further information on this.

CV January 2022

Follow me: