I'm an artist based in Liverpool and currently am an Artist Lead at The Royal Standard. I studied BA Mixed Media Fine Art at University of Westminster and mostly make sculptures. Have a look around and please feel free to email or message me if you want to know more about anything or want to get in touch!
Perhaps we are nothing more than jiggly organ sacks that wobble around on a rock hurtling through space until we just, sort of don’t any more. Following the logic of Existential and Absurdist writers, my practice aims to address the cosmic horror of everyday life. In a godless and technologically-infused world where our every waking thought is pre-empted by Alexa’s algorithmic portents, how does the individual come to terms with the finiteness of their unimportant fleshy being? As the unblinking eye of the universe continues to lack regard for the fate of each of us, the burden of modern life continues to pressure the individual to retain a sense of anxiousness and unease. Do I constitute an authentic human because I can fill in the Captcha verification on Google?
My practice both explores and berates these concepts by employing a narrative that simultaneously borders both the humorous and the horrifying as a way of negotiating the conundrum of life itself. Through this logic, I must also ask myself why in fact I am making art rather than inhabiting a nihilistic retreat. This process helps to define the works formed from this perhaps pointless pursuit of art-making. By laughing into the void of nothingness, this existential dread is able to leave its already defined roots to explore materiality, consumption and what it means to be human in the age of the chat-bot and artificial intelligence.
Mainly through the use of sculpture, my work utilises a range of specific materials to explore my area of interest. Concrete plays an important role within my making-process and features within a range of my work. I find the material itself interesting due to its connotations with ‘Modernism,’ and the idea that humanity’s conquering of the natural world has allowed us to become the apex species within our planet and perhaps galaxy. Nevertheless, this ‘poster-boy’ for human success is in fact nothing more than rearranged sand and limestone that will soon become nothing more than its origin once again. Concrete is both strong and fragile and often relies upon a sense of custodianship to keep it in prime condition.
Much of my work also utilises kinetic elements to provide a sense of animation and performativity to the sculptures’ often limited time as worldly beings. Furthermore, much of my practice utilises less visibly tangible properties such as risk, gravity and weight. These properties are often conveyed through the actions of the enlivened kinetic elements within my work. By introducing moving aspects to my practice, the viewer is implicated by their tacit viewing of the artworks’ actions and becomes themselves within the potential blast radius of any prospective deeds of the sculptures themselves. In addition, this process often simultaneously increases the viewer’s agency to decide how closely to inspect the artworks, whilst forcing them into a suspended state of anxious turbulence. The arrangement of the sculpture themselves within my practice are frequently positioned tactically to present the viewer with a kind of decision making process in regards to their deliberation of how to interact with the works in the space.
I find the development of scientific knowledge in relation to the philosophical concepts at the core of my practice intriguing as an ever-expanding realm within a question that itself cannot be answered. Through this methodology I also employ the use of a variety of emerging media, such as 3D printing and Arduino technology, alongside a series of less standard materials within the art world, such as ballistics gelatine. Each of these materials, alongside the expansions within the fields of artificial intelligence, continue to blur the definition of what exactly it means and is to be human within the 21st century. I believe that by exploiting the intrinsic qualities of these materials, we can make steps closer to understanding or simply continue to muse upon this age-old philosophical question.