My practice revolves around a scattered methodology—a constellation of texts, images, objects, and processes—in which I orbit the impact of interconnected structural forces to map the emotional and intellectual shifts required to hold onto what is otherwise ungraspable.
Deeply influenced by the explosion of digital information and algorithmic curation, I explore the friction between wide-ranging matters, which I process as matter: from the intimacy of a broken heart to systemic financial instability and existential collapse. I treat this friction not as a problem to solve, but as a generative force—a form of creative dissonance, wherein conflicting ideas and opposing goals are intentionally suspended. I define my approach as psycho-techno-archaeological: a mashup that requires active attention to tune into the idiosyncrasies existing where different worlds collide. In this space, the architectural and the digital reverberate between an archaeological past and a techno-future—reconfiguring old and new—wherein digital excavations expose the hidden tensions of our historical and technological lives.
Working with the permeability of boundaries—where porosity describes the ease with which thoughts, external influences, and emotions circulate—my work exists in flux, manifesting as unsettled forms that oscillate between clinical detachment and emotional spillover. While no individual text, image, object or process offers a final answer, collectively they form propositions in which the fragmented nature of lived experience and the systems that shape it are simultaneously celebrated and shattered.
Since 2024, the collaboration known as We Are Only Partly Real has been in development between the artist Steve Dutton and myself. Originally formed through a Spike Island digital commission which developed from our backgrounds in language-based art, moving image, code, data and immersive installation, our joint work explores unstable realities: how meaning shifts between bodies, images, systems and spaces, and how an artwork might operate less as an object than as a field in which perception is reorganised through a dynamic interplay of time, space, material and information.