At the root of my practice is a sustained engagement with material. I am drawn to working with processes that are tactile and unpredictable, allowing opportunity to create outcomes that aren’t entirely within my own control.

I’ve grown a deep interest in creating fluid forms that adopt an appearance of malleability and imperfection. This led me to form a deeper, intuitive connection with making, rooted in instinct and chance rather than constrained parameters of design.

Each form is determined using a process of repetition, chance and failure.

The physical making process is slow and intentionally unstructured, creating space for natural movement and accidental shifts, which I embrace as a marker of material trace and authenticity. My work is not created with a pre-conceived narrative and instead values the act of making at equal significance to the finished object itself. 

My work narrates a sculptural language ingrained in contradiction. The forms are heavy, yet they appear fragile and unstable, they are abstract, yet innately conscious. Theres a deliberate awkwardness in the way the pieces inhabit their space, leaning in ways that suggest imbalance and vulnerability, which forms an intentional contrast to the hard, permanent materials from which they’re construed. 

I am interested in the threshold where form disrupts its own boundaries, challenging its identity and transitioning into something unnameable. Ultimately, the ‘Formlings’ are not completed sculptures, but moments of a sustained exploration of material, movement and unpredictability. These works aren’t made to be explained, defined or categorised, but aim to invite more of a physical, intuitive engagement, asking the viewer to experience the work on a more physical level rather than through a defined meaning.