Through my practice, I sensitively weld the technological with the delicate folds of human experience, crafting sculptures that cradle light and projections. Our experience of time collapses and explodes within the frames that I make. I pull from a seemingly disparate range of materials such as architecture, underwater footage and photographic archives.
My process is an attempt to preserve the fleeting essence of memory. I do this through using wax as a liminal material, existing in the transitional state between solid and liquid. As it dries, the wax renders paper translucent. What emerges are the subtle connections and seemingly unremarkable details captured in a photograph. My work becomes a negotiation between control and surrender. Images slip, resurface, and warp in the reflections built into my structures, just long enough to be seen but not completely understood.
In retracing these moments, I question if something essential is lost in the ink and machine that transforms raw experience into mere representation. In a world where technological advances are so fast paced, I make room for the unresolved, to allow the memories to hover, melt and shift with the individual perspectives of the audience. I hope that the work invites a heightened sensitivity. A sonic and visual lingering on the undercurrent of the everyday.
In Memory, 2025.
2-metre x 1.56-metre steel frame, holding 6 x 22-inch screens, 6 x A2 acetate sheets reflecting images revealed by wax drips, installed at the Graduate Show, Edinburgh College of Art.
Stills from footage in the sculptural video installation, In Memory (2025), dripping wax over A4 inkjet prints of scanned 35 mm film photographs, taken on a disposable camera over a year.
