My art practice is based in photography. I received a degree from Chelsea College of Arts. I have exhibited work at the Serpentine Gallery, the Parasol Unit and the Catlin Prize. I was born and live in London.
I often make assemblages with small objects to photograph at large scale. Subjects have included plants, sweets, toys and meat. The change in size and colour can make the photographs disorientating to look at. For the last two years I have been developing photographic work made using a room-sized, self-built high definition camera. They are colourful, glossy and bright. Recently I’ve been exploring animation techniques too.
My work is partly inspired by objects and processes that are midway through a transformation, often for protection. Some examples of these are:
- Hanging chrysalises - the process of a grub turning into an insect
- Goose barnacles - transforming the object they’re holding onto
- Wasp nests - a constantly transforming organic structure
- Limb Osseointegration - the way body’s change to accommodate man-made implants
These references act as visual frameworks for me to group objects and arrange the photographs’ composition and colour. For example, ‘mess package yellow no. 5’ shows a huddled hanging sculptural mass arranged in a group, similar to huddles of wasps or gripping barnacles.
In addition I am interested in poking fun at traditional symbols of masculine power in humans and animals. This is something I want to explore further in my future work.
I sometimes use sculptures of penises in my work. For example, the animation ‘Image Sharing 2’ shows a 3D scan of a colourful penis made from children’s plasticine and sweets, rotating on a pedestal. The childlike materials and rudimentary appearance create a cutesy peacockish look. This aims to ridicule and subdue the macho aspirations of some representation of penises and masculinity.
I also find animal courtship displays hilarious and recognise ways humans engage in similar ridiculous attraction techniques. My work has similarities to bird courtship displays in its flamboyant colour, detail and size. I combine these ostentatious elements with mundane detritus such as tooth harps, children’s sweets and soap dispensers in order to undermine the grand aspiration of masculine courtship and power displays and possibly of the camera itself.
My new work ‘Mess Package’ is named after a term used in childrens’ Art Therapy. It describes artworks made from many different materials and colours, forced together by the child in a chaotic and messy way. Therapists interpret these artworks as implying desire for power and autonomy.