sculpture

what are the binding? where are we moored?

inner houses, outer houses 2022

valentine

Absent Gallery, 2021, UK

is the twisted stick less of an oak because it fell on stony ground, 2021

ikon gallery, Birmingham

Loveye Sculpture – figure amorevoli 2020

TienTai Art Centre, Qingdao, China

the reenactment of a line, 2018, cctv screen pressured into metal structural columns. Tape Modern exhibition, Food to the Dogs. www.tapemodern.org

vincolo di pelle 2017, the great medical disaster, Castlefield Gallery, Manchester UK

The grip loosened and I was made. Created, safe, matured I thought. Relaxed, thinking my time was our time. Safety feels past. I sensed a difference. Time revealed the uncertainty I saw more, felt more, heard more. I was maturing slowly, believing together we were made. Together we would stay. Feeling you move in my stillness.  Questions. Anxiety grows. Quiet, I wonder what your next movement will bring. Unbearably I wait.

Diaphanous 2017, exxxhibition Holden Gallery, Manchester, UK

Diaphanous I
Diaphanous II
Diaphanous III

Il crogiolo 2016, Brashnar Sculpture ParK, Skoje, Macedonia

It may be a mother harbouring her child or he may be curved over contemplating his predicaments. But she could also be striding forward towards sacrifice of an unknown future. This work holds the strength and durability of a man made material, juxtaposed with the organic power of a living being. I wish to allow her to remain open to absorb the viewers subconscious feelings and connect to him as a living being, empathising with who ever stands to observe it.

hanging thoughts – 2016

merge 2016, Wales/Egypt in digital collaboration with contemporary and classical ballet dancer Georgia Moffa

running on empty 2015

Emotions, moods and feelings are a silent language we explore within us and others, evoking and receiving signals continuously. The emotions investigated during the performance are those often hidden from strangers, the ones we reject or seek to understand within our self and others.

The concept of the materials are fixed to the emotional state one seeks to integrate with the raw and artificial aesthetics of concrete and the beauty and reflective property of used engine oil. While the sculptor evokes emotions during the process of the work, the final piece remains uninhabited, allowing constant empathy with the viewer.
 

STATILIA – BW549, 2015, Guerrilla Sculpture, Porta Maggiore, Rome, IT