In this work I wanted the analog and digital to start a relationship and have babies. These babies are the above titled variants of 1. and 2. I have always been fascinated with the translation between the two, the way they can cross over through to the digital realm and back to the material world with little resistance and what this means for the fate of an object. With the likes of 3D printing and CNC machines becoming more commonplace what does this mean for analog makers? Is the handmade something that will always be a respected method of creating? What will the human relationship to the digital world look like in times to come? The works centre around a 1 or 2 meter wooden baton. This rigid piece of wood, that has been faded and distorted in a lot of the pieces is a demonstration of the distance that should be observed when social distancing. I wanted to ask the question of what makes social distancing social, by creating objects that when viewed in a physical space would enforce distance between people which in the digital world is of no consequence.

This piece is based on my perception of myself, where I have taken all the aspects of my being that I find important and unique and have translated them through my 'internal and mental language' into a visual so that strangers will see who I am, but never be able to understand what I am.

Photography

Photography

Photo taken from 'Recipes For Disaster' Recipe book.

Photo taken from 'Recipes For Disaster' Recipe book.

Photo taken from 'Recipes For Disaster' Recipe book.

Photo taken from 'Recipes For Disaster' Recipe book.

This is a realistic 3D render of a vending machine in an old bunker used as a rave in the 80s.

A collection of protective nests that encase our possessions. These cocoon shaped forms intertwine the relationship between our homes and nests within nature. The idea of filling our homes with things to feel comforted and shielded was at large during the beginning of the Coronavirus pandemic, when for many, stockpiling was deemed necessary.

A collection of protective nests that encase our possessions. These cocoon shaped forms intertwine the relationship between our homes and nests within nature. The idea of filling our homes with things to feel comforted and shielded was at large during the beginning of the Coronavirus pandemic, when for many, stockpiling was deemed necessary.

A collection of protective nests that encase our possessions. These cocoon shaped forms intertwine the relationship between our homes and nests within nature. The idea of filling our homes with things to feel comforted and shielded was at large during the beginning of the Coronavirus pandemic, when for many, stockpiling was deemed necessary.

A collection of protective nests that encase our possessions. These cocoon shaped forms intertwine the relationship between our homes and nests within nature. The idea of filling our homes with things to feel comforted and shielded was at large during the beginning of the Coronavirus pandemic, when for many, stockpiling was deemed necessary.

A series of Images that objects are being use for a different purpose

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@HOME points to the popular design conventions in digital marketing, and the ways in which these have shaped the hyper-visualised world in which we now live. The series explores post-internet generation's absorption of a minimal graphic aesthetic into its perception of reality.

@HOME points to the popular design conventions in digital marketing, and the ways in which these have shaped the hyper-visualised world in which we now live. The series explores post-internet generation's absorption of a minimal graphic aesthetic into its perception of reality.

@HOME points to the popular design conventions in digital marketing, and the ways in which these have shaped the hyper-visualised world in which we now live. The series explores post-internet generation's absorption of a minimal graphic aesthetic into its perception of reality.

@HOME points to the popular design conventions in digital marketing, and the ways in which these have shaped the hyper-visualised world in which we now live. The series explores post-internet generation's absorption of a minimal graphic aesthetic into its perception of reality.

'China 2020' is a series of 3 illustrations based on photographs of China under lockdown in the spring of 2020. They seem busy due to the colours and signs everywhere, but there is only one person in all of the pieces. They reference the isolation that people feel under lockdown and how drastically life has changed.

'China 2020' is a series of 3 illustrations based on photographs of China under lockdown in the spring of 2020. They seem busy due to the colours and signs everywhere, but there is only one person in all of the pieces. They reference the isolation that people feel under lockdown and how drastically life has changed.

'China 2020' is a series of 3 illustrations based on photographs of China under lockdown in the spring of 2020. They seem busy due to the colours and signs everywhere, but there is only one person in all of the pieces. They reference the isolation that people feel under lockdown and how drastically life has changed.

These models of buildings show the effect of increased online shopping, as less people visit high streets and businesses are forced to close. It can now link to the lockdown as well, as cinemas and public places have been closed, and some may not be able to reopen when it's safe.

This is a puppet based on the graphic novel, The Arrival by Shaun Tan.

This is a puppet based on the graphic novel, The Arrival by Shaun Tan.

This is the mechanisms for the puppet I created.

A liminal space is a transitional space a feeling of being in between one point in time and another. It is a space beyond and an entrance into the unknown. It can be experienced as fluid and non directional, a vague, unclear space. Often exciting and exhilarating but also disconcerting and disorienting. But there is often the feeling of just being on the verge of something...

A liminal space is a transitional space a feeling of being in between one point in time and another. It is a space beyond and an entrance into the unknown. It can be experienced as fluid and non directional, a vague, unclear space. Often exciting and exhilarating but also disconcerting and disorienting. But there is often the feeling of just being on the verge of something...

A liminal space is a transitional space a feeling of being in between one point in time and another. It is a space beyond and an entrance into the unknown. It can be experienced as fluid and non directional, a vague, unclear space. Often exciting and exhilarating but also disconcerting and disorienting. But there is often the feeling of just being on the verge of something...

This collage piece I created depicts the underlying identity of my inner setbacks and interpretations. It involves visual ideas that I feel are a part of me as a person, and are responses to the subjects acting most significant to me and within my life.

A skittish exploration of anthropomorphic creatures *notably those of a canine-esque nature* frozen in time - or rather traversing its planes - the 'BYTE' trilogy meshes dimension and imagery in frenetic harmony. Each piece appears both comedic and oddly haunting in its construction, resembling a post-internet Rorschach test for the interpreter.

A skittish exploration of anthropomorphic creatures *notably those of a canine-esque nature* frozen in time - or rather traversing its planes - the 'BYTE' trilogy meshes dimension and imagery in frenetic harmony. Each piece appears both comedic and oddly haunting in its construction, resembling a post-internet Rorschach test for the interpreter.

A skittish exploration of anthropomorphic creatures *notably those of a canine-esque nature* frozen in time - or rather traversing its planes - the 'BYTE' trilogy meshes dimension and imagery in frenetic harmony. Each piece appears both comedic and oddly haunting in its construction, resembling a post-internet Rorschach test for the interpreter.

This photograph is inspired by a painting by the Dutch painter, Carel Fabritius. It dates from 1664, a year before Bubonic Plague swept through Europe.

This work is inspired by Jacopo de' Barbari's painting in the National Gallery in London.

DOGMA': A chaotic rendering of beliefs, motifs, mantras, symbols... made only explicable through its very inexplicable nature. Give yourself to 'DOGMA' and its recursive tendencies. Dogs will be dogs. They believe in their dogmas and live in their dogdom. It only takes one mad dog to think that he is a god.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

A series of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

Pattern and shape was used to distort the body and disrupt images. I originally focused on CCTV, but lockdown and the social change that is taking place at the moment provoked me to think about other ways in which our world is distorted, sometimes figuratively like how the media distorts stories to fit specific narratives, but other times literally, through edited photos of celebrities that you see on social media. The use of overlaid images and saturated colour mirrored the confusion, speed and overwhelming nature of the online world.

In this mixed media piece, I aim to explore the bittersweet feeling of immersing yourself in a forgotten time and the juxtaposition of true and false memories. We often fabricate a complex facade in order to align with what we desire to remember, preventing us from reminiscing the truth. In harmony with my video piece, I aim to convey the emotional effects of the attempt to retrieve or relive memories that are no longer tangibly accessible.

A Covid 19 poster to fight against the virus

In this work I wanted the analog and digital to start a relationship and have babies. These babies are the above titled variants of 1. and 2. I have always been fascinated with the translation between the two, the way they can cross over through to the digital realm and back to the material world with little resistance and what this means for the fate of an object. With the likes of 3D printing and CNC machines becoming more commonplace what does this mean for analog makers? Is the handmade something that will always be a respected method of creating? What will the human relationship to the digital world look like in times to come? The works centre around a 1 or 2 meter wooden baton. This rigid piece of wood, that has been faded and distorted in a lot of the pieces is a demonstration of the distance that should be observed when social distancing. I wanted to ask the question of what makes social distancing social, by creating objects that when viewed in a physical space would enforce distance between people which in the digital world is of no consequence.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

A collection of sketchbook layouts using forgotten and found items I have hoarded over the years, exploring compilation and use of satire.

This piece is about societies expectations of beauty in the form of advertising, as you have comparisons of magazines. One being a natural photograph no editing or makeup etc and the other the complete opposite which is seen as more appealing to society.

This piece is about societies expectations of beauty in the form of advertising, as you have comparisons of magazines. One being a natural photograph no editing or makeup etc and the other the complete opposite which is seen as more appealing to society.

This piece is about societies expectations of beauty in the form of advertising, as you have comparisons of magazines. One being a natural photograph no editing or makeup etc and the other the complete opposite which is seen as more appealing to society.

This piece is about societies expectations of beauty in the form of advertising, as you have comparisons of magazines. One being a natural photograph no editing or makeup etc and the other the complete opposite which is seen as more appealing to society.

My main focus was to portray that due to the current circumstances around the globe, masks are becoming a necessity to every day life. The mask will become a new fashion accessory as people start to socialise into the new normal...

My main focus was to portray that due to the current circumstances around the globe, masks are becoming a necessity to every day life. The mask will become a new fashion accessory as people start to socialise into the new normal...

My main focus was to portray that due to the current circumstances around the globe, masks are becoming a necessity to every day life. The mask will become a new fashion accessory as people start to socialise into the new normal...

'Justice will not be served until those who are unaffected are as outraged as those who are' - Benjamin Franklin

'Justice will not be served until those who are unaffected are as outraged as those who are' - Benjamin Franklin

LOCKDOWN BRICOLAGE is a collection based on my experience of isolation. Repurposing objects found in my family home I created powerful outfits that echo memories of my past, evoking strong feelings and a sense of determination to survive.

LOCKDOWN BRICOLAGE is a collection based on my experience of isolation. Repurposing objects found in my family home I created powerful outfits that echo memories of my past, evoking strong feelings and a sense of determination to survive.

LOCKDOWN BRICOLAGE is a collection based on my experience of isolation. Repurposing objects found in my family home I created powerful outfits that echo memories of my past, evoking strong feelings and a sense of determination to survive.

'Why they look back?' try's to capture the strangeness and emotional intelligence that horses display towards humans.

'Why they look back?' try's to capture the strangeness and emotional intelligence that horses display towards humans.

'Why they look back?' try's to capture the strangeness and emotional intelligence that horses display towards humans.

'Why they look back?' try's to capture the strangeness and emotional intelligence that horses display towards humans.

'Why they look back?' try's to capture the strangeness and emotional intelligence that horses display towards humans.

These hair in the mouth pieces were inspired by the abjection theory by Julia Kristeva. The thought of hair being disgusting when off the body as opposed to being seen as beautiful on the head interested me. The line between life and death is what people are disturbed by, so by disturbing people I could show the disorder, not to glamorize but solely bring awareness to people that need help with this. Individuals with pica crave non-food substances, such as dirt, soil, chalk, soap, paper, cloth, wool, pebbles and hair. Individuals with pica may be at an increased risk of poisoning, infections, gut injuries, and nutritional deficiencies. Depending on the substances ingested, pica may be fatal.

These hair in the mouth pieces were inspired by the abjection theory by Julia Kristeva. The thought of hair being disgusting when off the body as opposed to being seen as beautiful on the head interested me. The line between life and death is what people are disturbed by, so by disturbing people I could show the disorder, not to glamorize but solely bring awareness to people that need help with this. Individuals with pica crave non-food substances, such as dirt, soil, chalk, soap, paper, cloth, wool, pebbles and hair. Individuals with pica may be at an increased risk of poisoning, infections, gut injuries, and nutritional deficiencies. Depending on the substances ingested, pica may be fatal.

These hair in the mouth pieces were inspired by the abjection theory by Julia Kristeva. The thought of hair being disgusting when off the body as opposed to being seen as beautiful on the head interested me. The line between life and death is what people are disturbed by, so by disturbing people I could show the disorder, not to glamorize but solely bring awareness to people that need help with this. Individuals with pica crave non-food substances, such as dirt, soil, chalk, soap, paper, cloth, wool, pebbles and hair. Individuals with pica may be at an increased risk of poisoning, infections, gut injuries, and nutritional deficiencies. Depending on the substances ingested, pica may be fatal.

These pieces were inspired by the sculptor Paul Hazelton who uses hair and dust as a work medium where I used hair as the focus being displace on a plate like food.

An examination of stains found on an artist's table.

An examination of stains found on an artist's table.

An examination of stains found on an artist's table.

An examination of stains found on an artist's table.

An examination of stains found on an artist's table.

Sensory processing disorder affects all senses. My project focuses on the negative experience of the sense of touch that sufferers are subjected to. Aspects of clothing such as seams, zips and pockets used to cause me great anxiety. This project has helped me understand the condition better. This piece is the imprint of a back pocket in resin exploring the textures.

This work explores the contours and seams inside trousers.

This piece is a zip detail, set in resin to reflect the inflexible, harsh nature of zips for sufferers. The resin gives it a permanence which the sufferer learns to adapt to.

These pieces explores seams of pocket and their contents.

Is the home a sanctuary for everyone? In my two-part series 'Refuge' and 'On the Eve' I explore the various meanings of 'home', its paradoxical place in our history and in our imaginations as both enforced isolation and a haven from the public world. In 'Refuge', I drew on Mary Cassat's (1900) portraits of women painted in domestic interior spaces. I began to draw my sister within the first weeks of Covid-19 isolation; I focused on her body and posture, and this reflected my initial sense that home was a safe place to withdraw to, to protect ourselves from outside danger. In developing the series, I used my visual memory of Patrick Caufield's painted interiors, Francis Bacon's paintings of contorted figures as well as Paula Rego's illustrative drawing style to create an increasingly abstract figure set in an amalgam of block colours and cutaways of domestic details. Over the series, the setting becomes as important as the figure and I became interested in creating a geometric structure around her. Isolation is a new feeling for many of us, yet for some groups in society, the home has always been something like a prison. For example, women battled for access to public life - for access to the ballot box - so as to become equally visible and represented. Cassat, unlike her male post-Impressionist contemporaries who painted factories and streets, focused on women in domestic interiors.

Is the home a sanctuary for everyone? In my two-part series 'Refuge' and 'On the Eve' I explore the various meanings of 'home', its paradoxical place in our history and in our imaginations as both enforced isolation and a haven from the public world. In 'Refuge', I drew on Mary Cassat's (1900) portraits of women painted in domestic interior spaces. I began to draw my sister within the first weeks of Covid-19 isolation; I focused on her body and posture, and this reflected my initial sense that home was a safe place to withdraw to, to protect ourselves from outside danger. In developing the series, I used my visual memory of Patrick Caufield's painted interiors, Francis Bacon's paintings of contorted figures as well as Paula Rego's illustrative drawing style to create an increasingly abstract figure set in an amalgam of block colours and cutaways of domestic details. Over the series, the setting becomes as important as the figure and I became interested in creating a geometric structure around her. Isolation is a new feeling for many of us, yet for some groups in society, the home has always been something like a prison. For example, women battled for access to public life - for access to the ballot box - so as to become equally visible and represented. Cassat, unlike her male post-Impressionist contemporaries who painted factories and streets, focused on women in domestic interiors.

Is the home a sanctuary for everyone? In my two-part series 'Refuge' and 'On the Eve' I explore the various meanings of 'home', its paradoxical place in our history and in our imaginations as both enforced isolation and a haven from the public world. In 'Refuge', I drew on Mary Cassat's (1900) portraits of women painted in domestic interior spaces. I began to draw my sister within the first weeks of Covid-19 isolation; I focused on her body and posture, and this reflected my initial sense that home was a safe place to withdraw to, to protect ourselves from outside danger. In developing the series, I used my visual memory of Patrick Caufield's painted interiors, Francis Bacon's paintings of contorted figures as well as Paula Rego's illustrative drawing style to create an increasingly abstract figure set in an amalgam of block colours and cutaways of domestic details. Over the series, the setting becomes as important as the figure and I became interested in creating a geometric structure around her. Isolation is a new feeling for many of us, yet for some groups in society, the home has always been something like a prison. For example, women battled for access to public life - for access to the ballot box - so as to become equally visible and represented. Cassat, unlike her male post-Impressionist contemporaries who painted factories and streets, focused on women in domestic interiors.

Is the home a sanctuary for everyone? In my two-part series 'Refuge' and 'On the Eve' I explore the various meanings of 'home', its paradoxical place in our history and in our imaginations as both enforced isolation and a haven from the public world. In 'Refuge', I drew on Mary Cassat's (1900) portraits of women painted in domestic interior spaces. I began to draw my sister within the first weeks of Covid-19 isolation; I focused on her body and posture, and this reflected my initial sense that home was a safe place to withdraw to, to protect ourselves from outside danger. In developing the series, I used my visual memory of Patrick Caufield's painted interiors, Francis Bacon's paintings of contorted figures as well as Paula Rego's illustrative drawing style to create an increasingly abstract figure set in an amalgam of block colours and cutaways of domestic details. Over the series, the setting becomes as important as the figure and I became interested in creating a geometric structure around her. Isolation is a new feeling for many of us, yet for some groups in society, the home has always been something like a prison. For example, women battled for access to public life - for access to the ballot box - so as to become equally visible and represented. Cassat, unlike her male post-Impressionist contemporaries who painted factories and streets, focused on women in domestic interiors.

Is the home a sanctuary for everyone? In my two-part series 'Refuge' and 'On the Eve' I explore the various meanings of 'home', its paradoxical place in our history and in our imaginations as both enforced isolation and a haven from the public world. In 'Refuge', I drew on Mary Cassat's (1900) portraits of women painted in domestic interior spaces. I began to draw my sister within the first weeks of Covid-19 isolation; I focused on her body and posture, and this reflected my initial sense that home was a safe place to withdraw to, to protect ourselves from outside danger. In developing the series, I used my visual memory of Patrick Caufield's painted interiors, Francis Bacon's paintings of contorted figures as well as Paula Rego's illustrative drawing style to create an increasingly abstract figure set in an amalgam of block colours and cutaways of domestic details. Over the series, the setting becomes as important as the figure and I became interested in creating a geometric structure around her. Isolation is a new feeling for many of us, yet for some groups in society, the home has always been something like a prison. For example, women battled for access to public life - for access to the ballot box - so as to become equally visible and represented. Cassat, unlike her male post-Impressionist contemporaries who painted factories and streets, focused on women in domestic interiors.

My second series, 'On the Eve' explores female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explores female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explores female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explores female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explores female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explore s female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

My second series, 'On the Eve' explore s female isolation within the domestic sphere and as a psychological space, where I explore the 'room' as a symbol of the domestic life that traps so many women. I allude to Charlotte Perkin Gilman's feminist gothic novel of 1892, The Yellow Wallpaper, about the effective imprisonment of a young woman by her husband, ostensibly for her own health. However, in being trapped in this one room, the woman becomes progressively more psychologically disturbed. In effect, the novel describes how women of the time, in lacking all agency, could become subject to mental dissolution. One of the key symbols of the book is where the woman begins to see herself trapped inside the yellow wallpaper, a metaphor for her own disempowerment. The title of this second series is taken from a novel by the Russian, Ivan Turgenev. It is a story of passionate relationships with an overpowering sense of a tragic outcome.

We have found ourselves thrown into a maze, a forgotten challenge that we must all face, together. There is a way out, however, the walls of the maze prevent us from seeing the right path. We must keep moving forward as a group and at every dead end, go back and find another way. We have the necessary abilities to defeat this challenge but in order to do so we must not forget, everyone has to contribute.

In the beginning of human history, weapons have been the tools to protect ourselves and hunt for food, however in modern times, these tools have taken on an extremely different role. The AR-15 is a symbol of war and violence, as well maintaining a very small element of protection, but nonetheless through acts of aggression. The contrast between the ancient figure of the neanderthal and the contemporary symbol of the AR-15 rifle is a way to illustrate the massive change through millions of years of human weapons engineering evolution, involving astronomical amounts of resources and time for a tool of suffering.

Fragmentation, although a word somewhat overused when describing art, has become more of a state of mind. An intrinsic pressure is entangled in the act of creation when there is an intent of reaching a concluded finality, which is why an artists sketchbook holds a more heightened fluidity. I wanted to recreate this lack of preciousness, with its Careless attitude in finishing the focal point. Or maybe more simply, 'I got frustrated'.

Made with pure autonomy under the influence of Heineken.

Abstraction within microscopic views of nature. I collected imagery from nature using a microscopic camera and combined them together using Photoshop. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; "What the heck is that dynamic?". This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

In the Seventeenth Century people believed that the Plague was transmitted through the air. They also believed that holding a posy of sweetly scented flowers to their noses could stop them from becoming infected. These posies were beautiful and futile. The Doctrine of Signatures asserted that flowers which resembled parts of the body or the disease could be used as a cure. I drew on both of these beliefs as inspiration for this ongoing series, The Covid Posies.

In the Seventeenth Century people believed that the Plague was transmitted through the air. They also believed that holding a posy of sweetly scented flowers to their noses could stop them from becoming infected. These posies were beautiful and futile. The Doctrine of Signatures asserted that flowers which resembled parts of the body or the disease could be used as a cure. I drew on both of these beliefs as inspiration for this ongoing series, The Covid Posies.

In the Seventeenth Century people believed that the Plague was transmitted through the air. They also believed that holding a posy of sweetly scented flowers to their noses could stop them from becoming infected. These posies were beautiful and futile. The Doctrine of Signatures asserted that flowers which resembled parts of the body or the disease could be used as a cure. I drew on both of these beliefs as inspiration for this ongoing series, The Covid Posies.

Three spirits; bird man, yellow ghost and dog. Are they manifestations of different elements of my soul and psyche? Most likely. Just parts of my spirit enjoying one another's presence, in a chaotic mindscape.

A garment originally inspired by Japanese sculptural designers, neglecting and completely diminishing female shape and creating a whole new one on top of the body, while enforcing the message of social distancing during the corona virus pandemic.

We find ourselves deep within a consuming society where we have such little attachment to materials, we have become largely blind to the resulting waste. Unless society, as a collective, begins to make drastic changes to the way we live and respond to situations, we will run dry. This series is about the luxury of being able to dispose, use and then replace without a second thought and the negative consequences this natural routine will continue to bring everyday unless we begin to become uncomfortable.

We find ourselves deep within a consuming society where we have such little attachment to materials, we have become largely blind to the resulting waste. Unless society, as a collective, begins to make drastic changes to the way we live and respond to situations, we will run dry. This series is about the luxury of being able to dispose, use and then replace without a second thought and the negative consequences this natural routine will continue to bring everyday unless we begin to become uncomfortable.

We find ourselves deep within a consuming society where we have such little attachment to materials, we have become largely blind to the resulting waste. Unless society, as a collective, begins to make drastic changes to the way we live and respond to situations, we will run dry. This series is about the luxury of being able to dispose, use and then replace without a second thought and the negative consequences this natural routine will continue to bring everyday unless we begin to become uncomfortable.

After exploring through colour and food, and seeing if foods can be just as appetising looking unnatural, I've created my own series of fruit

Photographed Orange

This piece explores the ever-changing nature of the world of female cosmetic surgery and the power that those obsessive beauty standards have over the psyche. The fluctuating trends in cosmetic surgery highlight the complexity of beauty, as something undefinable, not one thing. The confinement of lockdown meant that I used materials only found in my home, whilst expressing my personal feelings towards the ideas of physical perfection throughout our society and moulding ourselves in order to conform to the ever-changing ideals considered beautiful.

A range of photographs exploring the Suburbs and Urban Sprawl with a focus on Isolation.

Gator like beings are watching over an adventurer. The adventurer is holding a dagger.

The many eyed sunset appears before the viewer, growing limbs to steady itself upon the earth.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

In this collection of work I explore the psychological by-products of isolation. The domestic space, rather than being a place of familiarity and safety, becomes a cage entrapping the self, drawing out latent anxieties, insecurities and obsessions which the mind was previously too preoccupied to confront.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

During Lockdown I walked for an hour a day through a nature reserve in central Oxford. This area of land had previously been the city dump from Victorian times until the 1970's. Each day I found shards of pottery. The fact that these had been used, held, cooked with, drunk from and then discarded, fascinated me. This is in stark contrast to the items that are discarded there now and the traces that human activity have on our environment. The fragments have been displayed with an archaeological taxonomy in mind.

In this work I wanted the analog and digital to start a relationship and have babies. These babies are the above titled variants of 1. and 2. I have always been fascinated with the translation between the two, the way they can cross over through to the digital realm and back to the material world with little resistance and what this means for the fate of an object. With the likes of 3D printing and CNC machines becoming more commonplace what does this mean for analog makers? Is the handmade something that will always be a respected method of creating? What will the human relationship to the digital world look like in times to come? The works centre around a 1 or 2 meter wooden baton. This rigid piece of wood, that has been faded and distorted in a lot of the pieces is a demonstration of the distance that should be observed when social distancing. I wanted to ask the question of what makes social distancing social, by creating objects that when viewed in a physical space would enforce distance between people which in the digital world is of no consequence.

In this work I wanted the analog and digital to start a relationship and have babies. These babies are the above titled variants of 1. and 2. I have always been fascinated with the translation between the two, the way they can cross over through to the digital realm and back to the material world with little resistance and what this means for the fate of an object. With the likes of 3D printing and CNC machines becoming more commonplace what does this mean for analog makers? Is the handmade something that will always be a respected method of creating? What will the human relationship to the digital world look like in times to come? The works centre around a 1 or 2 meter wooden baton. This rigid piece of wood, that has been faded and distorted in a lot of the pieces is a demonstration of the distance that should be observed when social distancing. I wanted to ask the question of what makes social distancing social, by creating objects that when viewed in a physical space would enforce distance between people which in the digital world is of no consequence.

In this work I wanted the analog and digital to start a relationship and have babies. These babies are the above titled variants of 1. and 2. I have always been fascinated with the translation between the two, the way they can cross over through to the digital realm and back to the material world with little resistance and what this means for the fate of an object. With the likes of 3D printing and CNC machines becoming more commonplace what does this mean for analog makers? Is the handmade something that will always be a respected method of creating? What will the human relationship to the digital world look like in times to come? The works centre around a 1 or 2 meter wooden baton. This rigid piece of wood, that has been faded and distorted in a lot of the pieces is a demonstration of the distance that should be observed when social distancing. I wanted to ask the question of what makes social distancing social, by creating objects that when viewed in a physical space would enforce distance between people which in the digital world is of no consequence.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

I collected imagery from nature using a microscopic camera. By enhancing and augmenting the original images, I was able to reveal vibrant levels of colour, some that were not even visible before. It creates a strange psychedelic like effect, your brain cannot comprehend what you are looking at; 'What the heck is that dynamic?'. This micro world, so unfamiliar to us, becomes even harder to distinguish. We don't often notice anything beyond what the eye can see, but once you look closer, you realise just how fascinating and detailed the world around us really is.

Some interactions are instantly buried. Others are simply tattooed to our brains. Not dependant on positive or negative, influential or insignificant. Not by choice, purely by chance. Whether it's a familiar or a stranger, it's likely to find a home in our mind and soul.

Some interactions are instantly buried. Others are simply tattooed to our brains. Not dependant on positive or negative, influential or insignificant. Not by choice, purely by chance. Whether it's a familiar or a stranger, it's likely to find a home in our mind and soul.

A seiries exploring the degradation of something temporary, expressing the minute changes that accour over time.