Floating Doric Column Crumble, 2023, 3D printed porcelain, acrylic, 10 x 35 x 35cm

abstraction of a Doric column; porcelain clay body prepared to be too dry for conventional 3D printing resulting in a crumbling 3D print suggestive of decay and transformation; the column hovers above a synthetic, reflective void uprooting an architectural trope of power and solidity

Summoning Tool (artifact), 2023, glazed and stained porcelain, 11 x 22cm

hand held talismanic tool of mysterious purpose and origin; possibly a fragment; surface covered with finger tip imprints; colour flips as the tool or viewer moves; holes are eyes, voids and potential sites for interconnection

Stela 2, 2024, glazed and stained porcelain, 35 x 45 x 1.5cm

using Egyptian stelas and ancient tablets found in Western museum collections as a basis for form; a porcelain slab carries a pattern made from finger imprints rather than any known system of symbols; capturing and commemorating an embodied, subjective, sensorial experience as opposed to symbolic content characteristically found on stelas regarding property, tax, dates and personal status

Stela 1, 2024, glazed and stained porcelain, 40 x 30 x 1.5cm

from series of stelas; strong horizontal and vertical lines create an ordered space for information, yet the stela is absent of symbols for communication; luminous porcelain bears a surface of gently crumpled paper in reference to the memos and bureaucracy of recent times used to maintain, project and protect power, a similar function to the ancient stela

Caryatid, 2022, glazed and stained earthenware, 28 x 22 x 15cm

sculpture based on the caryatid Lord Elgin had removed from the Athens Acropolis in 1803 and now controversially resides in the British Museum; the original is a compelling object with multiple, conflicting symbolic readings and a journey across borders and time driven by political leverage and colonial mindsets; her facelessness is a portrayal of the vast unknowable voids and forever silenced voices of the past

Merch, 2023, mp4 and monitor

looped moving image catalogue of museum merch propositions based on pieces from an exhibition investigating cultural capital and reproduction rights & practices of museum collection objects; (click to watch - 1min18sec; original exhibited piece was a slower speed)

Tugging Digging, 2024, glazed porcelain, various sizes from 2 x 1.5 x 1.5cm to 30 x 9 x .5cm

porcelain casts of negative space created by digging gestures inquires into the myriad of drivers, impulses and sensory experiences of why we dig into the earth’s crust from concealment to extraction, discovery and collection; chun (or jun) glaze creates characteristic hazy blue play of light typical of the Northern Song dynasty (960-1127) chun ceramics or jun ware - highly valued, collectable ceramics with notable conflicting scholarship

(work in progress, Unfinished Goddess and the Watery Cataclysm Over Her Shoulder) animation still of 3D scanned and rendered ‘Unfinished Goddess’ (2nd - 4th century BC, marble, Greece); a loop of varying speeds of the ‘Unfinished Goddess’ spinning to look over her shoulder - a pivotal gesture in the myths and lives of women preceding rape, confrontation, violence, seduction; background of churning waters linking misogyny to climate climate crisis; the artifact surface is digitally edited to evoke a tender yet troubled fiction of the future

Time Frame, 2025, mdf, 120 x 60 x .9cm
(work in progress, studio shot) based on a frame in London’s National Gallery of a large Baroque painting by Tiepolo for a Venetian palazzo ceiling depicting a fleshy Venus presenting an infant to a personification of Time amid symbols of the relentless turning of time; the figurative imagery is replaced by void/portal with no visible or recognisable commentary or answers to the predicament of temporality