Welcome to my Artwork

I have an eye for detail. I see the potential in the small things, which I collect and sculpt into something complex, intricate and fascinating. For me the measure of an artwork is the amount of time it engages you for, and I aim to make work which is compelling to look at and able to engage its audience on many levels.

The work is tactile, intricate & multilayered, reflecting my interest in traces, memory and the process of deconstructing and reconstructing the layers, perceptions and identities which are built up over time. I use diverse and unconventional materials and processes. From collections of objects, images, sounds & patterns, I construct complex and limitless pieces.
My most recent work concerns collection of biological images and an assemblage of identities, featuring in public and private collections in the UK and Europe. Materials such as glass, Perspex and resins allow light to infiltrate the work and introduce the interplay of shadows and refraction.

My interest in detail draws me to natural and organic structures, and my inspiration is often taken from micro scale imagery such as biological and cellular structures. A lot of my work is drawn from my fascination with the genetic code, the juxtaposition of its magnificence and ability to determine and encode so much, and the delicacy of being so simple and invisible to the eye.

The I Find Myself series
In my most recent work, fragments of the genetic code, biological imagery and my artistic interpretation of DNA are juxtaposed to statements which aim to relate to the viewer's identity; reflecting the everyday, mundane, intimate, personal identity of the viewer, not just our obvious, stereotyped selves.
The viewer can appreciate the overall work with its forms, shapes and colours; or look deeper into the fragility and complexity of each little cell, engaging vision as a close sense; a sense of touch. Other similar works have included sculptures made from resin, metal and glass, and molten sugar.
The intricate nature of the artwork has a spatial impact on people by encouraging them to view it and move around it in a distinct way. The audience becomes aware of the text only when close to the surfaces; like the artwork is revealing to them a secret. Text is explored as something organic, fluctuating and delicate, but also as almost unavoidable and intrusive, especially when presented on surfaces of things we would normally interact with - such as in my works with lollypops: Suck me, 2006-2007.
 

Sensory Works
Sugar Cube Room, 2006, covered the walls of a room with mosaic swathes of sugar cubes, incorporating textual elements and sound: Taking a simple tactile material and pushing it to its limits to create something which also possesses complexity and depth, and parodies the sensory exclusion of the 'white cube' space. Sugar Cube Room was kindly sponsored by Tate Britain and Tate & Lyle, who both donated generously to provide the 50,000 sugar cubes and sugar cube faces of which the piece comprised.
Proximity is very important: We can never perceive the whole work at once because to see the detail, we get too close to see the whole. We become aware of detail such as text only when close to the surfaces, and in pieces such as Sugar Cube Room, the whispered sound subtly emerges as well.
My work tries not to prescribe meanings, but inspire aesthetic experience, through encounter of the artwork. Because the artworks are mainly about materials, senses and associations brought in by the audience, I tend to draw away from specific forms or objects and often stick to organic shapes and multiples; forms we can interact with anthropometrically.
I attempt to create a textured, intertextual work which references much more than the superficial: Artwork which creates space not only for the body and senses, but also for mind and memory.