Architecture is humanity's most prominent symbolic achievement. It physically towers over us in a manner that science, poetry, and art do not. These achievements are constants on the horizon, and therefore in our lives. Yet, when tragic events cause damage to these buildings we are reminded of the true fragility of these ‘permanent’ structures. Considering this, and by taking significant reference from Joseph Rykwert’s, The Dancing Column – which explores the connection between architecture and the human body – during my second year in this programme, I have produced a body of work that evokes architectural features in a state of flux.
Inclusions to the ceramic body introduce orchestrated faults – warping, fracturing and weeping forms metaphorically challenge the symbolism of these architectural forms. The forms appear to be decaying, but while showing signs of an emergent force bursting through the surface.
School of Arts & Humanities
MA Ceramics & Glass, 2019
- BA Fine Art, CASS, London Metropolitan University, 2016
- Miscellany, Private, London, 2019; Experiment|Control, Blyth Gallery, London, 2018; Lake Como Design Fair, Galleria Salvatore Lanteri, Milan, 2018; Modern Masters, Galerie Handwerk, Munich, 2018; Claytime!, Side Gallery, Barcelona, 2017; Personal Show, Zetter Hotel, London, 2017; Eye Flux Hand, C4RD, London, 2017; Operæ, Galleria Salvatore Lanteri, Turin, Italy, 2016; Multiple Choices, Simmons Contemporary, London, 2016; Archipelago, St John on Bethnal Green, London, 2016; Guy Marshall-Brown and Bente Hansen, Puls, Brussels, 2016; 50 Obsessions, LASALLE, Singapore, 2015; Artworks Open, Barbican Arts Group Trust, London, 2015; Creekside Open, APT Gallery, London, 2015; Ghost/New Life, Iklektik Gallery, London, 2015; Art Emergency Response Centre, Bank Space Gallery, London, 2015
- Owen Rowley Commendation, 2016; CASS Writing Prize, 2016