Artist Statement

What happens to the space between the self and the other when you talk to a pillow? My practice investigates internal cavities, ambiguous vessels and abstract fruiting bodies to explore the porous boundary between human and nonhuman lived experience. I am interested in the complexities of containment: the longing to be held, the instinct to protect and the emotional residues internalised by objects and spaces. My sculptures use logics such as roots and rhizomes to reflect on the impermanence of both bodies and materials. 

Rooted in new materialist thought, my work considers matter as an active and responsive collaborator. Informed by local ecology and a commitment to the recovery of female narratives, my process centres on walking, foraging and collecting. Making becomes an embodied encounter where grief and memory surface through touch. Materials such as latex, pewter and paper pulp are paired with found rusted agricultural metals and beach finds, each carrying traces of place, weather, labour and time. As these materials resist and transform, they reveal the interconnectedness of bodies, objects and their environments. 

Ultimately, place functions as both method and meditation: a negotiation between control and surrender, presence and absence. The resulting sculptures often gesture toward the feminine: suspended, relational and in flux. I aim to create objects that are both tender and grotesque, serving as imperfect propositions for understanding how matter remembers, transforms and endures alongside us.

 

Education

2025 – 2026 - MA by Research, Oxford Brookes

2017 – 2018 - PGCE in Post-Compulsory Education, Institute of Education, University of London

2013 – 2016 - BA Fine Art, Bath Spa University

 

Reference 

By Marcus Cornish, Sculptor and Faculty Member at the Royal Drawing School