BA (Hons) Fine Art
I was born and London and have spent the last 3 years practicing sculpture Chelsea College of Art and Design. My work focuses on the fundamental mechanics of mass production and traditional forms of sculpture, my work involves the diminishing traces of intentionality and a constructed idea of technologies ability to reproduce. The sculptures begin to register as a solitary act of paradoxical author, thus working modestly against the functioning machine. My work is developed by materials set as a separate phenomenon, autonomous and pre-existing, which I as the user am a simple and ephemeral organizer. By observing, probing and procrastinating the residue of our industrial era, I can find that exact weaknesses and flaws of these fragments that are dominated by an awakening of the imagination, in an illusory twinkle and unhinged, invasion in engineering that makes my work possible. Similar to the inaccuracy of an adequate equation against the probable, where we can view consequences of agency in a technical wire that has been emancipated from its original function. The machines resonate together in a perpetual motion and the foundations of a structural fragility thatâs conducive of diversion justify their varieties of movements. The sculptures reveal humor by breathing new life into neglected objects that were abandoned in the stream of our consumer society. The poetic combination of technological objects with equally raw materials and the associative manner of encountering scrap materials aids the development process when diverting these phenomena from their initial functions. Producing the power that results in an incarnated life embodied in objects that prey against-function towards their final extinction. The sculptures are deprived of their original function but remain beings of movements. "Fact of transfer, the art reaches its maximum speed". The work is always under construction, by occurrence and builds up to establishes itself in the circumstance. Contributing to the tracery of an era quite unusual in itâs erratic, jerky continuation, develops an innovative and frantic demonstration without prescription. My work is based as much on the idea of sculptural tension between physical phenomena, space and the spectator, as on the "adjacent" notion of clandestinely and illegality, erasure and irreversible loss. By using taught neon's, a car battery and isolating the power cables that move from the voltage of the engine, resulting in a continuous shorting of power from the bottom of the unpredictable cable. The scale and noise of these works should produce a tension offering an increasingly heavy-handed approach to failure in practice as the refusal to behave accordingly to teleological expectations works as a tactic for questioning, dismantling or even misusing objects from a dominant system.