My works draw on the fantastical, the aesthetics of ink line work, and the concept of trans-automatic growth, which is almost certainly the product of a misspent youth spent poring over books with sinister diagrams and footnoted footnotes. I have a strong interest in the dynamics of public art and design, knee-high socks, and all things mechanical and cold-joined.

In recent years my work has incorporated living plants and industrial materials in The Third Tree Tenancy series, as part of an ongoing exploration of the human body's interaction with technology, architecture, and organic material. While this is in part due to an interest in the slow development of society into a race of interconnected cyborgs, the official line is that my works are conceptual narratives addressing mimetic identification with our environment.

My newly completed honours thesis dealt with forearm crutches, which were identified as a ‘lost prosthetic’ embedded not only in the fields of medicine and design, but in a framework of posthumans, cyborgs, and performance art. Analysed in the context of aging populations in the contemporary western world, it was seen as a likely solution to the mobility and stability issues that will typify an aged society. The paper and studio work concerned how the capabilities of a forearm crutch can be restored, enhanced and reconfigured to best fulfil the needs of long-term users and redefine what is meant by prosthetic.

At present I am building an enterprise called Moriendi around my drawings of hybrid bones and flowers, but one day hope to create an empire of quality products based on the one universal truth: there is nothing more elegant than a clean rivet. I am also developing a new range of jewellery focusing on travel by and to stars. A work in progress, they promise to be Constructivist odes to cold structures and workers. The pieces will map from the underground caverns where ore is mined to steel ships navigating asterisms on waves (or particles) of quantum theory.


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