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Contextual statement

Through my work I explore the materiality of the industrial environment in the contemporary world. My practice feeds off the excess material waste which our society provides. This allows me to indulge myself in the significant amount of plastics, foams and synthetic materials which we discard from our homes, business’s and any other place of intense human interaction.

 My interest in the minutiae stems from a need to study a materials potential not just for its assigned role in society but also as a mode for imitating or having a similarity to something its not. As a prolifically wasteful species, I find myself attaching higher value or importance to the scraps, odds, sods and leftovers of our culture. In my work I consider the meaning of value as cultural and personal construct which differentiates itself between person to person. Seeking new value and importance amongst discarded material is something which look to allude to in both the making and interpretation of my sculptures.

For me the most important element of of my work in the substance is built from. The materiality of my work is essential to both the process of formulation and the interpretation of the viewing. Examining the values of tactile materials and their role in the ambiguous interpretations of the viewer is what has compelled me become somewhat of a material expert. Understanding as many materials as possible whilst building a knowledge of the mechanics of how they operate both individually and collectively in my work is a major drive within my practise. Building a better understanding of the materiality of my surroundings and my practise is essential when it comes to contextualising and categorising my sculptures.


Value is added and implied in the presentation of my sculpture, as I feel the need to highlight the unseen beauty or delicacy of material. My fascination which materials has driven me to become ingrained in exploring their possibilities to reassemble artefact’s which appear appetising or indulgent. A more recent development in my practise has been its connection or relationship with food. Interpretations of my sculptures having similarities to food and with words such as indulgent, sumptuous and delicious providing descriptions lead me to title my recent work “snacks”. However, this analysis is deeper than purely a descriptive narrative. My work not only examines value on a material basis but furthermore scrutinises our capacity for consumption. Food is relatable object, its also symbolises consumption, value and waste. We consume it continually without thought to deeper ramifications. In tandem with this lies our consumption of material waste which we enjoy at leisure without worrying about its use once were done with it. The work I have begun to create and will create going forward presents itself as an embodiment of this type human consumption. I utilise these materials such as foam, plasterboard and polystyrene, submit it as sculpture in a highly delicate manner which seems palatable and appealing. However, like the issues outlined (consumption, waste, value) the work is examining the aftermath of our cultures gluttony.

Artist CV


UAL BA Fine Art Sculpture Camberwell 

UAL Level 3 Diploma in Art and Design – Foundation Studies: Merit


2021 - Hopscotch, Safehouse 1 and 2

2021 - Open Studio, Camberwell Collage of Art

2021 - Catalyst, Stoa collective (Virtual)

2021 - Open Fragments, Pragmata (Virtual)

2020 - UAL Southark Park Galleries

2019 - UAL Year 1, Camberwell building

2018 - UAL, Crypt



2021  - a-n degree shows guide 2021

2021  - Elephant: Rising Stars: Elephant’s Pick of This Year’s Most Exciting Art School Graduates, 21 Jul 2021


Co-curator at Around the house online gallery and virtual space


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