My practice is mostly process based with finished works resembling small paintings and interactive installations around the size of a football; frequently utilising imagery based around the human form. I like my paintings to feel sculptural, often adding interactive elements such as hinged components and locking mechanisms to engage the viewer more strongly and create a sense of intrigue, making them stop and look again at what they’re handling.

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I find working in traditionally visual and aesthetic art styles (such as realistic oil painting or sculpting), as well as learning the original processes used to make the materials themselves (such as grinding and mulling pigments or making a loom to weave canvas) a way to ensure I am understanding and finding my own methods of using and making. This also ensures I understand my materials and their value and potential in a more balanced way. The term Materiality lends itself to modern consumerism, but I like to view materiality as a lens of understanding to view the relativity of the materials and process’ in front of us and apply this to my work. Looking back to traditional methods feels key to my practice as I am inspired by the ability of historic craftsmen to learn about a material from scratch and in understanding it find new ways to use it.

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Using paints and materials handmade from natural matter is not only interesting in the process of making them but also in the process of using them; largely due to the unique warmth the colours and textures have, which lend themselves to the fleshy skin tones that often occur in my work.