3 Clockwise, 2024
Steel, 56cm x 2.5cm x 9cm

This work resembles architectural forms such as torch sconces, candle sticks, and Solomonic columns. The spiral, a symbol of ascending growth and narrative ‘returns’, is presented here as an entirely static form. The stamped arrows function as naïve indicators, imbuing motion and directionality upon a form which has none. This work is concerned with the imposition of meaning, particularly the latent hegemonies within persistence of symbolic narrative. The physical potential energy within the twisted steel functions as counterpoint to the imbued movement of the form

 
 

Untitled (Figurative Relief Sculpture), 2023
Pewter, 10.7cm x 10.1 x 5.3cm

This work, made from casting the interior of a child’s ambulance toy, is concerned with the depersonification of figurative elements within historical relief sculpture, particularly drawing from occidental medieval portals. This reduction of the individual to fungible component is further seen in the form’s duplication and inversion, echoing modular pattern within architectural ornamentation. The figures – in moving from their original recumbency to a now upright position – analogize a symbolic transition between a gisant and a more animate symbolic effigy.

 

Courtroom Study #1, 2024
Wood, pewter, steel, vacuuformed plastic, 58cm x 33cm x 3cm

This work employs the indeterminable indexicality of courtroom drawings created within the representational theatre of the law to examine formal narrative structures found within historical relief sculpture. Here the desire for narrative and vitality are revealed as projected constructions; irrationally conjected and contingent, mirroring the construction of history. The pewter element is cast from a 3-D print of a preexisting courtroom drawing found online, reinscribing false material value to digital ephemera and gesturing towards entropy in representational translation. The metal frame, proposing a cyclical path, is a formal synthesis of geometric perspectival methods and belt pulley systems from industrial machines.

 

Pulling My Left Sleeve Through My Right Sleeve, 2024
Wood, plastic, 43cm x 34cm x 8cm

This work was created from converting a photographic image to a type of 3-D printing usually used in the creation of transparent white plastic lithophanes. The image itself is of the artist reperforming an ancient Viking drinking game where one sleeve is pulled through the other. This somewhat confusing and internally negotiated proprioceptive activity is pitted against its physical technique of representation: an external and austere computational translative process concerned with surface that is fraught with fidelity loss. The mechanical doubling of the image ensures an auratic withdrawal, analogous to the recorded and subsequently replicated past.

 

Untitled (chain at rest), 2024
Zinc-plated steel, 5cm x 243cm


The chain, symbolic of bondage and sequential/causal event, is here laid on the floor without function. This sculpture has been created by gently twisting a chain, resulting in a form where each individual link rests without tension; now physically contacting six other links at a time, establishing nestled groups of seven, rather than the traditional linear three. Here each link is no longer a subservient serial component, but discrete singular object displaying spatial and relational complexity.