My practice revolves around a scattered methodology—a constellation of texts, images, objects, and processes—wherein I orbit wide-ranging matters, from the intimacy of a broken heart to systemic financial instability and existential collapse.
Curious about the impact of algorithmic curation and the explosion of unvetted and unsolicited digital information, I explore the idiosyncrasies that emerge when different worlds collide. My approach is psycho-techno-archaeological: a mashup that demands active attention to tune in and process matters, as matter—not as problems to solve, but as generative material. By holding conflicting ideas and opposing goals in intentional suspense, I cultivate a creative dissonance—a space where I digitally excavate and expose the hidden tensions linking our historical selves and the technological conditions we inhabit.
Working with the permeability of boundaries, allowing thoughts, external influences, and emotions to circulate freely, my work exists in flux, 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.
Alongside my personal practice, I am currently developing a collaborative practice, We Are Only Partly Real, with the artist Steve Dutton. Formed in 2024 through a Spike Island digital commission, this collaboration draws on our backgrounds spanning language-based art, moving image, code, digital architecture, and immersive installation. We Are Only Partly Real explores unstable realities—specifically how meaning shifts between bodies, images, systems, and spaces—proposing constant renegotiation as a site of experience.