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My practice consists mainly of sculpture and light installation, supported by drawing, collage and creative writing.

Through my practice I intend to impress upon the viewer a sense of their own cultural history whilst also investigating a history of images, creating a layered viewing experience. I often use familiar visual imagery within my artwork, such as pyramids, icons, or fragments from history, that are recognisable for their visual impact and symbolism. My artwork references an archaeological approach to knowledge, excavating through various points in history to reveal instabilities, incongruities and questions. I aim to make work that is multi-layered in its meanings and references so that the viewer too can feel like an archaeologist working out the different strata in the work.

I am also interested in the visual qualities of light and its use to evoke a sense of the divine, and light sources are often an integral component in my sculptures. My use of light manipulates the viewer’s encounter of the work, and I aim to challenge the traditional experience of viewing in a white space gallery environment. I enjoy grounding my work in traditional sculpture techniques such as modelling, carving, construction and casting. In making work that is historically loaded, both in subject matter and in the traditional processes of making, and combining it with the dramatic quality of light, I am concerned in creating artwork that has an atmospheric quality, and I am quite influenced by theatre and film set design.

My research currently centres on scientific discoveries and theories, art history and archaeology. I am currently investigating theories behind fluorescence and phosphorescence, and linking the transference of energy to metaphors in religious art. I am starting to make a body of work that takes fluorescent and phosphorescent materials out of their usual context of esoteric/psychedelic art by using the transformative power of light as a metaphor for certain spiritual concerns. I’m very drawn to the idea that scientific theories can be fantastical and wondrous rather than cold, hard objective fact. I am also very interested in the history of figurative sculpture, and enjoy exploring different tradition’s approach to the figure and re-contextualising it.

I am currently based in London having just completed my Masters in Sculpture at the Royal College of Art