My practice is focused on the relationships between drawing, painting and sculpture and draws from architectural theory to explore the permeabilities between the body, complex emotional states and archictectural spaces. I am interested in the sculptural idea of the room as a container or vessel which objects and emotions can pour in and out of, and drain leak or overflow.
My work is often influenced by a complex mixture of literature, architectural theory and politics but also a narrative thread runs within it which pieces it all together.
My literary influences are varied, but I am interested in the gothic and surreal, for example; Edgar Allen Poe, Kafka, JG Ballard, Chekhov and William Golding.
I begin a new series of work by firstly reading, researching or writing a story around my ideas. The work can often be situated in a mixture of architectural spaces, ranging from domestic interiors to transient spaces and public architectural forms. Based on these interior worlds that I create within these spaces I then begin to make sculptural objects, take photographs and draw, paint, print and collage from my original explorations. This process usually culminates in installations.
While I am interested in what can be embodied in architecture, I also look to the status of the body itself and its relationship to its surroundings. The skin can be visualised as an architectural membrane that holds us together. Within my narratives characters are created, much as in short stories and the psychological and physical effects on them of the built environment are key to my explorations.
The fetish like objects and drawings that I make inhabit a blend of architectural spaces that use ideas of “apotropaic” (protective) folklore that can defend, protect and constrain the body.