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Born in Exeter, Devon, UK.

Lives in UK.

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My practice mostly comprises installation and time-based media, focusing on the spontaneity of action and the properties, subtleties and absurdities of nature. Primarily incorporating the use of natural and found materials such as rocks, sand and ropes, my practice revolves around ideas of rawness and minimalism – a combination that continuously informs the aesthetic of the work. This relationship between organics and non-organics, dirt and cleanliness; space and non-space; is central to the work, and is evocative of the Japanese art movement of Mono-ha – the School of Things – in its neutrality and minimalistic approach to raw materials.

 

Fundamental to this is the notion of spontaneity. Each experience, whether video-based or an installation, is essentially an impromptu act of curiosity; inquisitively and playfully questioning the nature of things without necessarily the need for any particular answers. This impulsive experience of things, be it the catharsis of a smashed rock or the shifting objecthood of a pile of sand, presents subtle allusions to the nature of ourselves, both as individuals and as part of a wider whole; reflecting back at us our most human perspectives and perceptual humanness through the subtle occupancy of a fly in a room, or the hapless surrender of a ball on the sea.

 

These relationships of material and experiences of moments act as both question and answer. They are ways of playing with the world; not for any particular purpose but for the simplicity of its experience – the doing for the sake of doing. This authenticity of the experience and the work’s delicately organic aesthetic coalesce to form a synthesis of the raw and the clean, both the natural and the industrial. There is a carefulness to include only what is necessary, down to the very involvement of myself – not as a distant or foreign entity, nor even as the maker of work, but as an experiencer of it; a part of the wider whole to which we are all connected. I too am the audience and the observer.

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As the Absurdist approaches life with both the intention of meaning and the knowledge of its lacking, he is somehow content with his happy hopelessness and the endlessly exploratory nature of his existence.