My sculptures combine forms drawn from biological bodies with instruments of orientation and measurement. Tongues, needles, door knockers, compasses and carrots carry familiar associations, while ambiguity and the weird are central to my visual language. I am interested in the moment something recognisable becomes difficult to place.​

 

References come from Western esoteric and alchemical histories, early modern instruments and ancient sites. Material transformation and ideas of correspondence run through these histories. 

 

​I often begin by testing materials. I use magnetism, water and movement to make behaviour part of the sculptures. I combine clay with minerals and follow what is retained, lost or newly formed through firing. Experiments with clay and magnetite opened an ongoing interest in material memory and how heat can alter magnetic properties. This process led me back to Avebury in Wiltshire, a site close to my family home and surrounded today by stories of geomagnetism and earth energies.

 

My current work centres on ancient sites and the gap between what remains materially present and what can no longer be fully known. I use clay as a way of working with that uncertainty, bringing geological materials, archaeological histories, bodily encounters and contemporary stories into the same space.

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Alongside my sculptures, I develop participatory walks and workshops that engage audiences with landscapes and materials through direct interaction and shared observation. CV

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