My work explores the relationships between the built environment, material culture and marginalised aesthetics. My practice juxtaposes industrial and craft materials alongside found and personal objects including steel, wood, dried flowers, socks, printed paper, horse-hair braid, rubber, concrete and latex. Drawing on industrial, fashion design and image-making and architectural practice, I create emotive, direct sculptures which consider the political and ideological histories of consumption and the production of desire.
In the past, I have spoken of objects and materials as ‘eloquent texts’ that encode cultural and historical meaning. As I manipulate them via a number of actions including twisting, stretching, folding, elongating, skewering, piping, pouring, I investigate and ultimately re-read how meaning is programmed, especially loaded and shed through gesture, motif, structural and material processes. In recent work, I have touched upon the taboo, fetish and the commodification of queer aesthetics drawing links between whiteness, masculinities, political and body fascism in gay culture with ornamentation and decoration. In recent years, I have also incorporated personal belongings acquired out of my metropolitan experiences.
In examining architecture and design as epistemic retainers, otherworldly, exaggerated forms evade and challenge the sleek, productive logic and linearities of late-capitalist making, presentation and consumption and propose complex questions pertaining to subjectivity, sexuality, queer futurity and ultimately, power.
>>> Selected Writing <<<