I am an artist based in South Wales. My work addresses a range of concerns which are primarily political and often related to the history of colonialism and its contemporary legacies.

If you would like to get in touch, please send an email to:[email protected]

British Plastic WasteBook of cyanotype prints2022

VitrineFloorboards, found glass, found hinges2022

Holzer floorboardInstalled floorboard2022

Weston's Beautiful Fungi (print)Turmeric, wax, ink2022

Lockdown Drawings (Sound)Colour pencil on paper2021

Lockdown drawings (Ely Bridge Roundabout)Marker pen on paper2021

Lockdown Drawings (Ely Bridge Roundabout, colour)Colour pencil on paper2021

FireplaceTissue paper2021

FireplaceCharcoal animation, 6 minutes2021

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Education2020-present BA Fine Art: Studio, Site and Context, Swansea College of Art, UWTSD

Exhibitions2024 Hi O'r Mor | She Of The Sea. Seagull Gallery, Cardigan, 4-15 June.2024 Material Matters. Elysium Gallery, Swansea, 29 March - 19 April.2023 Passing Rhythms. Second Year Group Show, Swansea College of Art, 30 March - 2 May2023 Swansea Open. Glynn Vivian Art Gallery, Swansea, 28 January - 16 April. Curated by Gillian Fox and Daniel Trivedy2022 BA Fine Art First Year Summer Show. Swansea College of Art, 10-17 June2022 Confronting the Present. Creative Bubble, Swansea, 9-13 May. Curated by Abby Poulson2021 BA Fine Art First Year Summer Show. Swansea College of Art, 6-24 June2020 RESTART: Restart, Re-think... Re-build. Swansea College of Art, 25-30 September. Curated by Elisha Hughes1992 Aberystwyth Open. Aberystwyth Arts Centre, December1991 Aberystwyth Open. Aberystwyth Arts Centre, December

PrizeGlynn Vivian Friends Prize, Swansea Open, 2023

Skills and experiencePhotoshop; Premier Pro; InDesign; AudioExhibition set-upZine-makingMember, student digital liaison committee, Swansea College of Art

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How can an argument be presented visually? What are the possibilities for elaborating an analysis, position or critique through construction, drawing or animation? Working out how to express these concerns through art, in a way which is not simply illustrating an idea, is not straightforward. My current practice therefore explores how ideas can be expressed through art. An idea might be embedded within material and form or suggested across a juxtaposition of images. This allows space for ambiguity and interpretation, and also for playfulness or humour; it evades the precision and authority of a written analysis. Art provides possibilities for indirect and affective rather than direct and cerebral communication.I often use materials which are found, collected or given. This might be stuff which is to hand; the encountered detritus of the present; or salvaged materials from more distant times and places – an item from a second-hand shop; a neighbour’s reclamation off-cuts; a box of hinges found in a relative’s basement. I make models, forms, imagined entities, or assemblages of images, often experimenting with and inventing techniques of creation and construction. Recent materials have included newspaper, tissue-paper, wire, wax, cotton, turmeric, charcoal, plastic, and floorboards.I have been making work in a range of media including drawing, stop-frame animation, sculpture, printmaking, and site-specific installation. While sometimes venturing into the digital, I am especially drawn to material process and experimentation. I enjoy using my hands and eyes. This involves a tactile and bodily engagement with diverse materials through visual and haptic encounter, using trial and error. Some elements of this practice might even constitute a mode of resistance. My desire to learn skills of physical making is a critical response to a world which is increasingly mediated through the screen. The contemporary person swipes, clicks and downloads but does not know how to carve, cast or weave. Material practice offers both refuge from and resistance against the deskilling and alienation of the contemporary algorithmic, data-driven, consumerist world.