Tuesday, 22 September 2015


Recently I have been interested in objects and their counterparts with relation to an exploration of the ‘sacred’ by taking seemingly empty space, juxtaposed with physical matter, in an attempt to make the intangible tangible. Through the use of cast space, poetry and found objects I attempt to describe a sense of ‘otherness’, and explore the distinction between the known and unknown that is directly linked to my research of the ‘sacred’. These mere encounters with material and language sit in the hinterland between that which is considered earthly and the ethereal.

These works have been included in Gallery202's latest online exhibition entitled Matter. Place. An Other.

After laying fallow

It seems almost fitting that after taking part in an exhibition entitled 'Fallow', that writing towards this blog was to lie fallow too, and instead I have concentrated on what has been four months of continuous work towards the first trimester of an MA in Fine Art, followed by a study break that was taken in January, and embarking on a Sculpture Fellowship that will continue until January of next year.

Since October, the premise of my sculptural practice has developed quite substantially, both aesthetically and conceptually. Time has been spent moving from a place of creating seemingly abstract objects that allude to notions of the spiritual to working with found objects, reclaimed for their subtle spiritual value and exploring how subtle aesthetic changes question their functionality with relation to the sacred in contemporary art.

The 'Ladder' project is just one and a series of works that are ongoing and continually evolving.

'Ladder' project, phase one. October 2014.

'Ladder' project, phase two. January 2015.

Tuesday, 7 October 2014


Defining 'fallow'.

Traditionally the word 'fallow' has related to agriculture; when the land has been harvested of all crops and left for a year for a period of regrowth and re-nourishment, the land has been left to lie fallow. During such fallowness, though lying still and untouched, the land becomes nurtured. Fallow describes that period of time between impoverished and enriched, between abandonment and rebirth, therefore time is a key element when defining 'fallow'. 

This image, taken after the work was removed from the 'Ducts', shows a seemingly empty space. A fallow space, a space that now lingers between emptiness and fulfillment or a sense of purpose. Once used a simple storage space, then transformed into an transient, 'sacred' space and now empty, awaiting everyday objects to fill it once again.

And yet, even when the work was taken away, elements of it lingered. Marks were left on the floor were a 'Pyre' once sat and so the space is lying fallow, awaiting rebirth.

Monday, 4 August 2014

Exploring the Sacred

A collaborative series of photographs taken towards the end of July, exploring the notion of the sacred and importance of light within the space. The long exposure highlights the movement of the artist within the space and therefore illuminates its importance in relation to the sacred. This exercise allowed the artist to interact with the work in a new way, to explore its ritualistic qualities within the realms of performance.

Photographs courtesy of Alison Johnson/The Hive.

Thursday, 17 July 2014


to cover, surround or encircle.

As an artist and poet, my work often stems from an exploration of a particular word, such as the word absence which informs my practice from day to day. When a good friend and fellow artist Billy Hawes approached me about having an exhibition together, I thought about what word would resonate with us both. Billy's process is very much about weaving and covering folded canvases, exploring the relationship between painting and sculpture. With my most recent work relating to smoke, the word wreathe seemed apt to connect our works.

The exhibition took place at Westbury Arts Centre in Milton Keynes, 2nd - 5th July 2014.

Wednesday, 4 June 2014

Degree Show 2014

University of Northampton's Fine Art and Fine Art Painting & Drawing third year students and Foundation students will be showcasing their work at Avenue Campus. 

This is a fantastic opportunity to see a wide range of Fine Art works from an array of different disciplines, from painting and drawing to sculpture and new media. 

One unique element to this Degree Show is my use of the Ducts as an exhibition space, it will be the first time that such a space has been used and opened to the public.

The Ducts, MP13 will be open daily, 10am - 12pm, then 2pm - 4pm.

MP13, Maidwell Building, Avenue Campus, University of Northampton.

13th June - 4th July 2014.

Private View is Thursday 12th June 2014, at 6.30pm at Avenue Campus.


The contemplative, spiritual nature of my current work is heightened by its relation to ritual and ritualistic tendencies within the human psyche and therefore the space in which the work is shown has been deeply considered. I have spent the past couple of months considering my proposal for the Degree Show and the space in which the work is placed forms an integral part to the reading of the work. My good friend Sharon and I came across this beautiful, bare-bricked space within the university when putting some of our Gallery202 equipment into storage and I was instantly drawn to this hidden space.

The atmospheric nature of the space, the low-lighting and its cavernous, ethereal nature has formed a kind of narrative between the works involved and heighted the transcendent nature of the work. The use of the circle has been incredibly forthright and is symbolic of the silent but profound notion of life and death; the circle is the shape of transience. It is a symbol of that which is human, in particular that which is feminine; it marks our fragmentary, human connection with the earth born of our uniquely human curiosity into its meaning on earth. The pristine nature of plaster, the stillness invoked by the ethereal beauty of its white surface is key to the reading of the work. The purity that is then challenged by the fire refers that which has been and gone; the scorched marks that remain on the plaster’s surface is indicative of the relationship between life and death, between presence and absence explored within my work. The sacred, sanctum-like nature of this space works well with the notions of transience, purity and stillness within my work.