I am a Leeds-based artist whose work is situated in the realms of contemporary sculpture and installation. Having grown up on the nature reserve of Rye Harbour, East Sussex, I find my sculpture practice to be stimulated by organic forms and textures found when surrounding myself in nature. I combine an intuitive creation of texture and shape, with my fascination for artificial colour, constantly discovering new colour combinations that sing to me. I seek to make a surreal aesthetic that I feel transcends reality.

I find myself drawn to sculpture processes like plaster and ceramics, after previously attempting to extend the boundaries of painting with sculpture. I now lose all former restraints by abandoning the structure and limitations of the canvas, with an exploratory sculpture practice that extends to larger installation works.

Through installation I investigate the designing of spaces, creating surreal environments. My study of installations has led me to heavily consider audience interaction, the viewer becoming part of the work in the way they interact with it. I aim to invigorate the bodily senses though viewer experience.

I create human-sized sculpture where the viewer is invited to sit in the work, in a sensory confinement. For those that don’t wish to enter, the outside view gives scale and complexity, opening out to us to offer a sense of comfort, in a cave-like shell. I aim to totally surround in an intimate space, as some form of escapism. The audience is encouraged to enter a meditative listening practice inside, to extend their looking period and allow full immersion in their surroundings.

To fully immerse in the senses, my work extends to sound. Featuring a looped audio that uses my own field recordings of nature’s sounds, and electronic sounds as a melodious response to the sculptures, I communicate how colour translates as sound. I combine this with soft textiles, offering a tactility that invites the audience to a serene comfort space.

This quote summarises my viewpoint on what my work aims to achieve.
‘The immersive mode, [...] has become a key condition of viewing: it appears to indicate a withdrawal into the self, to a place of bodily sensation. It allows artists to propose an escape from perceived reality which no longer offers stable boundaries.' 1

Other than this, is it no deeper in meaning than the pleasure of sensory experience.

1: De Oliveira Nicolas, Nicola Oxley, and Michael Petry, Installation Art In The New Millenium : The Empire Of The Senses (London: Thames & Hudson, 2003) P. 49.