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

This work resembles architectural forms such as torch sconces, candlesticks, 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 the persistence of symbolic narrative. The physical potential energy within the twisted steel functions as counterpoint to the imbued movement of the form

 

Snake Reflection, 2022
Carbon print, 20.5cm x 13cm

A sectioned wooden snake is reflected in a mirror at the end of a hallway between two doors. The mouth and tail of the snake are positive and negative iterations of each other, suggesting further replicative possibility. The work formally draws from children’s developmental toys, primitivist reductive abstraction, and the caduceus.

 

Spiral/Rings/Clock, 2024
Plaster, paint, 14cm x 58.5cm

The Solomonic Column is recumbent on the ground, each ring cut and shifted by ½ of their width. This indeterminate state suggests the potential of either a stack of isolated rings or a continued unbroken spiral: a representation of recurring time, either as linear or partitioned. The sculptures production methods emulate the casting and surface finishing employed within the Cast Courts at the Victoria and Albert Museum, where semblance displaces historical realism. The small scale of the object posits it as fragment, apart from its origin.

 

Moon/Sun/Clock, 2024
Steel, plastic, 9cm x 37cm x 34cm

This sculpture is based upon various mythological stories where the sun and moon converse, the popular riddle “How many times a day is a broken clock correct”, and the intersection of language games and Socratic dialogue. Formally, the work hybridizes public clocks, terrestrial globes, and civic plaques.

 

Dog House, 2025
Kirinite, 42.5cm x 17cm x 14 cm

This work, loosely based upon a doghouse seen in Vancouver in 2012, is made from Kirinite, an acrylic plastic traditionally used in the handles of guns. Formally, the work is a combination of classical architecture, theatrical stage sets, and animal enclosures. The two doors imply a cyclical path of travel, while the pillars, like the individual frames within a Zoetrope, suggest revolution.