This Is the Trick

Digital video, 9min 21sec, 2020.

Alternative Guide for Walking: Photographs

Alternative Guide for Walking responds to the outdoors as a space to discuss identity politics and community-based making. The project resulted in a publication, which included photographic and written work, produced both independently and collaboratively, whilst walking between Arrochar and Inveruglas. Each outcome included in the publication was made in response to a series of guidelines written by the group before the walk, which provided construct and intentions for making whilst walking. The overall project focused on providing new narratives and removing old preconceptions surrounding walking, forming a new outlook towards our environments and community groups.

Alternative Guide for Walking: Photographs

Alternative Guide for Walking responds to the outdoors as a space to discuss identity politics and community-based making. The project resulted in a publication, which included photographic and written work, produced both independently and collaboratively, whilst walking between Arrochar and Inveruglas. Each outcome included in the publication was made in response to a series of guidelines written by the group before the walk, which provided construct and intentions for making whilst walking. The overall project focused on providing new narratives and removing old preconceptions surrounding walking, forming a new outlook towards our environments and community groups.

Alternative Guide for Walking: Publication

Black & white digitally printed 40 pages publication, perfect bound with soft cover, 12 x 20.5cm. A collaboration with Jess Hay, Sofie Keller and Silke Zapp. Originally presented at the Lunchtime Gallery, 2020. Writing within set guidelines and whilst producing photographic imagery forms new variables in language compared to writing freely. The text included within this page is a response to the following guideline: ‘When the space allows it, each split off and take as many steps as you feel necessary. Find a space for yourself and write a reflection on your surroundings.’ This pocket-sized guide has been designed to be recreated by others, which includes the guidelines towards the end of the book, so that others are encouraged to reconsider new forms of walking. This collaboration is a continuing project, with its next iteration being a public walk that invites others to walk with us and further expand the conversation.

Something Now

A bare hand lifts to wipe screen-printed words from a glass surface with saliva as the glass swings back and forth, leaving a murky cloud of ink. Within this short moving image, the easy removal of language, memory and the fragility in emotion are each contemplated. With a strong focus on the layout and surface of the text, the flat perspective seen in the work forms a midway between a written or photographic work and a sculpture.

placeholder for a power of sorts ii

Silicone cast antlers, 23 x 63cm. These antlers cast in silicone lack the structural integrity of their porcelain counterparts, placeholder for a power of sorts i, creating a clear juxtaposition that reflects the removal of power, and fragility. Considered within this are the themes of gender politics, hunting, and ritualism.

Ropewalk (Stills)

A collaboration with Sean Kemp, consisting of a 20 minute performance and a sculptural installation at the Garment Factory, as part of the group show Hopelessly Devoted, 2019. Surrounding the ritual creation of a rope, Ropewalk is a dialogue focusing on the dynamics of power and migration. This work foregrounds the process of traditional rope-making methods, demonstrating the act of making as an act of healing. The movements constructing the rope are accompanied by spoken word and throughout both actions, the concepts of constraint, bonds and navigation are discussed.

Ropewalk (Stills)

A collaboration with Sean Kemp, consisting of a 20 minute performance and a sculptural installation at the Garment Factory, as part of the group show Hopelessly Devoted, 2019. Surrounding the ritual creation of a rope, Ropewalk is a dialogue focusing on the dynamics of power and migration. This work foregrounds the process of traditional rope-making methods, demonstrating the act of making as an act of healing. The movements constructing the rope are accompanied by spoken word and throughout both actions, the concepts of constraint, bonds and navigation are discussed.

Ropewalk: 609 Swallow

Black vinyl lettering, 2 x 13cm. Alongside the live performance, Ropewalk included a series of site specific installations of vinyl lettering. Throughout the building, a series of numbered swallows were placed in unsuspecting places, such as bathroom sinks, stairwells and lifts. The swallows are an indication and reflection of the script performed, to which the act of swallowing and the bird in migration are two pivotal motifs.

Scripts, or manifestos

Screen-printed textiles, each 74 x 270cm. Scripts, or manifestos is a five part series following a longer exploration of displaying language. The works are made to be activated by viewers, through being read aloud and turned on a hand built metal wringer, which allows the text to be read from either side by two viewers. Within this work, there is a consideration towards how language develops when read together, compared to being read alone. This is pertinent to the critique of broken systems, both within institutions and throughout political hierarchies, included in the text. The language reflects upon personal experiences as well as a universal human condition, written over a ten month period. It has developed through other forms of printed mediums and sound works.

Pause or Pay Campaign

As a graduating student at the Glasgow School of Art, I would like to state my support for the Pause or Pay Campaign. Please read the manifesto here: www.pauseorpayuk.org

BREAK.FAST, I

2020 : 35 mm : 100 ISO : Colour Negative Film

BREAK.FAST, II

2020 : 35 mm : 100 ISO : Colour Negative Film

STITCHES

2019 - 2020 : 120 mm : 160 ISO : Colour Negative Film and Digital Paint

A Hole in the Sky

2019 : 120 mm : 160 ISO : Colour Negative Film

Observer

2019 : Moving Image : 51 seconds

Three

2019 : 120 mm : 400 ISO : Colour Negative Film

Untitled

2019 : 120 mm : 160 ISO : Colour Negative Film

Forest

2020 : Concrete

Studio-lab

2019 : 120 mm : 160 ISO : Colour Negative Film

Lichen

2020 : Digital Book : Moving Image : 21 seconds

Composite Space

2020 : Steel and Concrete

Bike

2019 : 120 mm : 160 ISO : Colour Negative Film

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else series.

Digital Image. 2019.

Not Lost Just Somewhere Else Installation.

3x Backlit Film Print on Electroluminescent Light Panel & 4x Speakers. 2020.

NOT LOST JUST SOMEWHERE ELSE & ACHERONTIA INSTALLATION.

3x Backlit Film Print on Electroluminescent Light Panel, 4x Speakers & 2x Slide Projection. 2020.

Acherontia Development.

Slide Projection. 2020. Text by Patrick Süskind – excerpts from the novel Perfume.

[ ] series.

Resin & Acetate Print. 2019.

[ ] series.

Resin & Acetate Print. 2019.

[ ] series.

Resin & Acetate Print. 2019.

[ ] Installation.

3x Resin & Acetate Print. 2020.

Stillness that Arises from Movement

49,5 x 32 cm photo polymer, intaglio print, 2020

Earth Wound

49,5 x 32 cm photo polymer, intaglio print, 2020

MIND MAP I

51 x 67,5 cm embossment print, 2019

MIND MAP II

31 x 44,5 cm embossment print, 2019

Topographies of Self

33 x 70,5 cm digital collage print, 2020

Ben More looking over Stob Binnein

38,9 x 57 cm digital Inkjet print, 2019

Recording of a Journey. Glasgow to Ben More, Crianlarich

25,5 x 34 cm intaglio print, 2019

River Veins

100 x 152 cm digital inkjet print, 2019

Munro Wandering

100 x 152 cm digital inkjet print, 2019

Bend Till You See Your World Upside Down IV

70 x 210 cm digital inkjet print, 2020

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Photographed)

General Detritus (Virtually Rendered)

General Detritus (Virtually Rendered)

General Detritus (Virtually Rendered)

General Detritus (Virtually Rendered)

A sculptural piece imitating the movements and reflections of water giving the visitor the illusion of being in the landscape of the water.

As sun shines through the metal mesh, it shimmers like water.

‘Speaking to Water’ Practicing Ho’oponopono technique in Turkish with a glass of water. Seni seviyorum, özür dilerim, lütfen beni affet, teşekkür ederim - I love you, I’m sorry, please forgive me, thank you.

Creating reflections on the wall by manipulating the mesh with light.

Water is fluid, soft, and yielding. But water will wear away rock, which is rigid and cannot yield. As a rule, whatever is fluid, soft, and yielding will overcome whatever is rigid and hard. This is another paradox: what is soft is strong. -Lao Tzu

Photographic work, observation of the landscape.

a storm, progress

(video stills), single channel video, 2020 (UK/Spain/South Africa)

a storm, progress

(video stills), single channel video, 2020 (UK/Spain/South Africa)

a storm, progress

(video stills), single channel video, 2020 (UK/Spain/South Africa)

a storm, progress

(video stills), single channel video, 2020 (UK/Spain/South Africa)

Paddles

Silver Gelatin Print

1.1: Having grown up on a farm, agricultural life is an intrinsic part of my approach to the land. Throughout this past year, I have returned to the landscape of my adolescence, making images that speak, not of an unblemished landscape, but one that is worked, cultivated and bears the traces of those who live upon it. In these images, I wanted to evoke a conflict between freedom and isolation - its capacity for healing, as well as the dynamic of violence it inhabits.

Broom

Silver Gelatin Print

1.2: Within my work, motifs of agricultural rural life are evoked in pursuit of a question of identity. The notion of agriculture, in itself, seems to me to represent an exertion of control over an entity which is always necessarily changing - aways in flux. A life, then, spent at the mercy of the land, the weather and the ecosystem which comprises it, goes beyond ‘pathetic fallacy’ in my work. It was, rather, a fact of my upbringing and, as such, it is these same elements which coalesce, in my work, around ideas of trauma, sexual revelation and the formation of adolescent identity.

Fence

Silver Gelatin Print

Wasp Trap 1

Digital Image

2.1: In this series of 3D-modelled images, I looked at mechanisms of entrapment - specifically, wasp traps. Commonplace in farmhouse kitchens in late summer, these objects evoke a question of culpability. Understood from either perspective, the figures on either end of this system can be considered perpetrators or victims of violence

Wasp Trap 5

Digital Image

2.2: I have understood the figure of the wasp, that of a supposed pest species, in terms of my own queerness. Its treatment as a nuisance, as well as the effort towards containment, is represented in these traps, their very form alluding to the physiology of the wasp, as well as to erotic imagery.

Funnel Trap

Digital Image

2.3: These works are not presented in physical form, but rather as designs. I am interested in objects which pre-empt creation, delivering an emphasis on the conception of an object or system, tying the work more closely to the hand of its author. In this instance, the conception of the work - the effort to bring it into being - is a reflection of the artistic impulse to define and conclude upon an entity.

Buck

Video (Still)

3.1: Beginning with a script, this work tracks the becoming of a theatre play through documentation of its rehearsal. The story follows that of a horseman who is killed in battle, and whose saddle comes to life in order to exact revenge for its ill-treatment.

Buck

Excerpt from Script

3.2: The narrative is based on the Japanese myth of Tsukumogami, or “tools-spectres”. Within these tales, functional, inanimate objects inherit spiritual agency following maltreatment by their owners. Following their freedom, however, the spectres begin to enact their own malevolence, undoing our sympathy for them. This same trope of magical-becoming is prevalent in western culture in examples such as Charles Perrault’s “Peau d’Âne” and Aardman’s “Wallace and Gromit: The Wrong Trousers”.

Buck

Video (Still)

3.3: In bringing consciousness and animacy to the inert saddle, I wanted to tie its functionality to an idea of imprisonment. While the saddle is not the victim nor the perpetrator of entrapment (each role, in turn, embodied by the characters of the Rider and the Horse), it represents the tool, and, therefore, an ambiguous position in this dynamic of culpability.

Buck

Video (Still)

Buck

Excerpt from Script

Buck

Video (Still)

3.4: Working with performers, roles are not assigned to particular actors. Instead, various figures act out scenes repeatedly with changing roles, the video cut so as to fragment the narrative of the play. The conflict of the play loops back on itself endlessly, denying the viewer of the resolution that theatre normally would bring.

Ropewalk

Performance (Documentation)

4: In this collaboration with Rosie Trevill, made for the exhibition ‘Hopelessly Devoted’ (The Garment Factory, June 2019), we presented a performance work, utilising a script written between the two of us. The performance passes through a series of movements as we operate a handmade rope-making machine, reciting our text as we do so. The rope that we produced during the performance, as well as the words that we spoke, reflect a dichotomy between something that bonds and something that binds.

Sacrosanct Statement

Icthys

Digital Image

Sun

Digital Image

Soil

Digital Image

Archangel

Digital Image

Icon

Digital Image

Pilgrim

Digital Image

Mother

Digital Image

Family

Digital Image

Likeness

Digital Image

Monument

Digital Image

Pride of Plates

Pride of Plates

Pride of Plates

We Tell Ourselves Stories In Order To Survive

Materials: 8 stones 28cm x20cm x 7cm Snowcrete, Silver sand, Jesmonite pigment, text, sound Temporary public intervention that took place on the foreshore of Troon beach, Scotland, January 2020 In an effort to explore individual and collective mourning I made eight concrete slabs and I engraved on each of them a word. Once they were put in the foreshore, they formed the sentence “We Tell Ourselves Stories In Order To Survive”, an appropriation of Joan Didion’s famous nonfiction novel. The foreshore or littoral zone is the area of the shore between the high and low watermark and it is property of the Crown Estate according to UK law. It is a dividing line between the sea and the land. It signifies a border of its own right, an ambiguous territory between ownership and public rights, citizens and sovereign. This foreshore becomes a political space, a grey area of exception, in which both jurisdiction and citizenship are performed by individuals and the governing bodies. Drawing from contemporary border politics and Agamben’s “Bare life”, a term that characterises human condition in its lowest levels, as well as “zones of indistinction” such as detention centres where migrants live without rights and citizenship, I attempt to understand their experience, honour their presence and mourn their absence by creating an anti-monument for the marginalised and excluded. This intervention signifies a “zone of anomy” between law and lawlessness, autonomy and sovereign. An action and ephemeral performance that rejects notions of power in the public space.

IN THE END THERE WILL BE MORE, 2019 (ONGOING)

Materials: 10-inch Red Latex Balloons, Helium, Air, Text, Red Ribbon

Wendy Brown in her “Undoing of Demos” unravels how Neoliberal reason has affected civic life and how democratic ideas could be under threat by shifting the political character of a democratic regime to the economic one of Neoliberalism. This work is an attempt to discover ways of resisting in an era where virtually anything takes a form of exchange. Exploring the notion of collectiveness, I asked my peers to trust me with their anonymous most secret desire in an exchange for someone else’s. Without reading any of the text, I placed the paper inside the balloons filled with helium and my own breath. These desires were placed inside a fragile, innocent and at the same time violent object. Popping a balloon is a violent act, the sound is very similar to a gunshot. I wanted to observe how many people were willing to keep the desires safe and how many were willing to act “violently” in order to exchange theirs with someone else’s. The majority selected the latter, resulting in the burst of the objects while only a few were happy to give away their desires without receiving anything in return. These fourteen non-human entities have remained standing, free and resilient to modes of exchange. They transformed into a temporary autonomous public sphere. They acquired a life of their own; with my breath and other people’s “voice”, through their temporality, they become eternal.

7 Trees

Multi-Channel Video, Sound Design: Otis Jordan, Additional Sounds Dexter Stokes Mellor. Germany, 2020. 23.73 seconds, is the fastest time any known person has run between these 7 trees in Bleckede. 

23.73 Sekunden ist die schnellste Zeit, die je ein Mensch zwischen diesen 7 Baumen in Bleckede gelaufen ist.

Reed Thicket

Single Channel Video, 2020, Germany.

Movement Development

Sketchbook pages, Development through movement and intuitive play, 2020, Bleckede. My method of making is a reaction to the outdoors. When encountering natural formations, they inspire me to use my body as a player, the slanted tree turned into the proscenium arch of a theatre, calling for action beneath.

Running

Sketchbook page, Bleckede 2020. Development through running, the reeds acted as visual instrument, the sound and the fragility of the plant became the play-element.

Alternative Guide for Walking

Pages from Publication made in Collaboration with Jess Hay, Sofie Keller and Rosie Trevill. 2020, Scotland. A publication documenting a walk between Arrochar and Inveruglas. The work is photographic and written, produced both independently and collaboratively. Landscape has often been seen as a place for conquer, dominance and physical strength, this publication challenges these ideals, reverting the stereotypes and using walking and landscape as a safe space for conversation and free making. Veering away from the path is not just advised but encouraged. Four visual practitioners in collaboration, focusing on the outdoors as a space to discuss identity politics, and community-based making.

As a Graduating student at the Glasgow School of Art, I would like to state my support for the Pause or Pay campaign. Please read the manifesto here: http://www.pauseorpayuk.org

Husband Frame #1

Husband Frame #2

Magician Frame #1

Husband

Magician Frame #2

Wife Frame

Husband Model

Works in Progress

Magician's Head

Magician's Head

red lorry, yellow lorry, blue car

3x3 grid of photos from the photography series ‘red lorry, yellow lorry, blue car’: a collection of over 100 photographs of red, yellow and blue cars together in and around Glasgow taken over 3 years. “Over the past 3 years living in Glasgow. When walking around the city, I’ve been spotting red yellow and blue cars all parked together in an array of different ways and circumstances. From vans, to minis, from lorries, to limos. These three colours of vehicle have been spotted all over this great city time and time again. For me personally when spotting these cars, I tell myself it is a sign of good luck and good things to come, as if the universe is looking out for me and has my back just like the three colours do” – extract from the zine

selection of zines

A selection of zines I’ve made throughout my time at GSA including: ‘BMX’, ‘I sneez in my sleep vol. 12’, ‘2-0’, ‘favorite is my favourite’, ‘grass ceiling’ (with captain arm band) , ‘bye bye wimbo’, ‘no signal’ and ‘red lorry, yellow lorry, blue car’.

The craziest gang member #4

Oil pastel and Crayola crayon on A2 paper. a collection of drawings of vinny jones taken from panini and merlin sticker books from when he played for Wimbledon fc. all drawings done in crayon and oil pastels. Also made into a zine and made back into stickers.

rhine-cone #1

A no waiting cone covered in 30,000 red, yellow and blue rhinestones on a rotating turntable.

bye bye wimbo, banger car 2

Colour film photograph taken at the last ever banger racing event at the Wimbledon stadium. Has been printed for exhibits in Glasgow and London scaled up to 107cm x 164cm.

sports direct sculptures

Acrylic paint on Air drying clay and glazed. 15cm x 16cm x 3cm (box) 10cm x 1.5cm (pen) A series of items that sports direct sell made out of clay and then painted. I have started this series during quarantine and am planning to keep on making more including sports direct playing cards, hot water bottles and extension leads.

ball #3

Felt tip pen on A4 yellow paper. 1 of 6 drawings of classic footballs drawn into rectangles.

no signal #7

Felt tip pen on canvas 12cm x 18cm. 1 of 12 drawings of a series of felt tip drawings on canvas about frustration taken from tv screens, computer monitors, projectors and other crap tech that i couldn’t get to work. Also made into a zine.

the craziest gang member #4

Oil pastel and Crayola crayon on A2 paper. a collection of drawings of vinny jones taken from panini and merlin sticker books from when he played for Wimbledon fc. all drawings done in crayon and oil pastels. Also made into a zine and made back into stickers.

hand crab / photograph from series titled ‘toss’

A colour film photography series an ongoing colour film photography series taken on a half frame camera. Photographs taken in various places and events in the UK since mid-2019. I am working on making this series into a book/zine when I am able to get my self to a good printer once quarantine has ended.

photo from ‘get home safe’ exhibition at living room gallery

Panoramic photograph from ‘get home safe’. A solo show curated by myself and gabby day at living room gallery. Show casing a range of different work including: sculptures, drawings, video work and photography. the room was filled with work on the walls, on the built in shelfs as well as the mantle piece also a TV showing a video piece in a little cubby hole. There where over 10 different bodies of work at this show and a packet of transform-a-snacks for everyone who came thru.

Hold I

Athens, July 2019

Watch

Agafay Desert, Morocco, December 2019

Across III

Marrakech, December 2019

Sailing Heart

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Intimacy

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Blood Moon's Kiss

Vinyl Lettering - Triptych of poems installed at Waterstones Sauchiehall Street store, for Hawk collective group Show: Glider, March 2020.

Breathe

A video encompassing spoken word upon themes of vulnerability and our admittance to hurt. This honesty lets us move forward from loneliness. November 2019.

Convergence I

Morecambe, November 2019

Do you remember?

A thoughtful walk manifested through a combination of still images and words. May 2020

Observe

Milos, July 2019 As exhibited at Waterstone's Sauchiehall Street at Hawk collective's show Glider, March 2020

Searching Waiting Found Doing Nothing Again

Vinyl Lettering installation in the glass elevator of Waterstones Sauchiehall street store, as part of Hawk's collective show Glider, march 2020

Bursting Stars

Vinyl Lettering - Installed poem in Waterstones Sauchiehall Street store from Hawk collective's show Glider, March 2020.

Couple by the Orange Trees I

Marrakech, december 2019

Depth and Quiet, 2019

As exhibited at New Glasgow Society West with Hawk collective's first exhibition, November 2019

Altar

Digital Photograph, 2020

Bittersweet Escape

Photographic Documentation of Cocktail, 2020

Rückenfigur

Digital Photograph, 2020

The Elixir of Quietude

Photographic Documentation of Cocktail, 2020

Mind

Digital Photograph, 2020

Lighter than air

Lighter than air

Good Country

hrough a study of place, material and memory, this project attempts to describe that which exist outside of language. It is a song to the natural world and the nature of joy, a celebration of that which remains undescribed.

Good Country

Glider

Glider

Untitled Greek film

This yet to be titled project follows a somewhat ambiguous drive into the cretian mountains. It is a personal archive that, despit the fleeting nature of time, speaks for the importance of exploration.

untitled WIP

A conversation between two mediums. Being both the camera and the clay, the maker and the archiver.

The sea is here, still (printed on pearl white paper, a diagonal line drawn with pencil). This is one of the examples of how the piece has evolved. Plans for displaying this would be to frame the piece and have it displayed with another piece of the sea with black shore, in which another line is drawn through.

Untitled, Installation with a fold upon paper on the wall, variation of The sea is here, still. This is the fold of a thing against a surface.

Image: detail screenshot from Untitled Installation on GSA Graduate Showcase. This is a found piece, in the absence of showing work in the physical space, I noticed a metaphor within the virtual space. The arch of leaves and their placement over the ‘sea is here, still’ is an enfolding, referencing the form of the sea wave.

Folding Skies

This piece has developed through layers of meanings.

Untitled, 2020, Silver Gelatin Print, Contact for price.

Untitled, 2019, Framed Giclée Print, 36cm X 23cm, Edition 1/5, Contact for price.

Untitled, 2018, Silver Gelatin Print, Contact for price.

Untitled, 2019, Silver Gelatin Print, Contact for price

Untitled, 2020, Giclée Print, Contact for price.

Lotus Pod, 2020, Plaster Cast.

Untitled, 2019, Silver Gelatin Print, Contact for price.

Untitled, 2019, Silver Gelatin Print, Contact for price.

Horse, 2020, Framed (Non-reflective) Giclée Print, 85cm X 55cm, Edition 1/3, £685.

Climb

2019, Giclée Print 60 x 45cm, Edition 1/5 Framed

Dip

2020, Giclée Print 60 x 45cm, Edition 1/5

Edge

2020, Giclée Print 60 x 45cm, Edition 1/5

Omission

2019, Giclée Print 64 x 85cm, Edition 1/5 Framed

Flip

2019, Giclée Print 60 x 45cm, Edition 1/5

Chamber

2019, Giclée Print 60 x 45cm, Edition 1/5

'Gaps between Gaps' Exhibition

Stallan-Brand, Glasgow March - April 2020

'Climb' - Installation

'Gaps between Gaps' Exhibition

Generated Worlds

Randomly generated worlds coded in Python

a collection of watchings, not far from the tree’

A collection of work from the simulated exhibition - a result of no degree show. This work consists of a dreamlike sequence, following the movement and migration of birds to light and freedom. The thinking comes from deep subconscious exploration which happens as we sleep. Satellites that roam the Earth’s orbit, pick apart our lives image by image but the thought of constantly being watched does not keep us up at night. To be free from watchings, but to be a watcher myself…the contradiction keeps me up at night.

Hand-Held Flight’

Plaster cast hand. Wire and gum strip bird model. 2020.

The Practice of Watching’

Using small technologies to relate our experience beyond normal conventions. Being watched and being aware - how does the viewer respond? Captivated by our own digital reflection, yet we seek relief from digitisation. Consumed by the constant pressure of technology and our need to compete for speed, when we are confronted by our inclusion in this habit, we slow down. Nature of the human condition, evolution through the digital age. [The camera was to be hung in a model bird, flying above the degree show space, viewers being watched as they enter the room. Yet to be realised.]

above’

Printed publication. 2020.

Not Me’

Chalk on blackboard. 2020.

Drawings on cartridge paper. 2020.

Bird’s Chirp’

Billions of years ago, two black holes collided. Each thirty times the mass of our sun, and releasing fifty times more energy than all the stars in the universe, in a fraction of a second, two black holes were overcome by colossal gravitational pull, forcing collision. Releasing gravitation waves that raced across the Universe for billions of years, we recorded their frequency. The sound was small and quiet, but distinct. It sounded as though a bird had chirped. Is this a message from the Universe? Hand embroidery. 2019.

Chalk drawings on pavement. Amsterdam. 2019.

a collection of watchings, not far from the tree’

An adapted degree show proposal for the simulated exhibition. Work produced during quarantine, without a studio, in my flat.

degree show proposal'

Degree show proposal, yet to be realised.