To me making artworks means having to deal with problems of communication (even with oneself).
How to make something readable when it comes from a place of dissolution?
How to translate a thing from one form (or lack thereof) to another?
I like things that are perceived as boring, wasteful, ‘un-valuable’.
Politics of passivity, waste, weakness, dissolution, fragmentation, repetition, translation, language, etymology
I research word etymology and how meaning is constructed in dictionaries to make work out of it.
I spend a lot of time looking at objects around.
Recently I’ve used objects directly from my studio at the RCA to make work.
School of Humanities
MA Printmaking, 2014
- BA Fine Art, Ecole Nationale Supérieure des Arts Visuels de La Cambre, 2011
- Portfolio selection and interview panel member, Royal College of Art, 2014; Student representative, RCA, 2013–2014; Teaching and workshop leader, Northampton University, 2013; Teaching, Gloucester University, 2013
- RA Summer Show, London, 2014; Seni Mini, Singapore, 2014; Wild at Heart and Weird on Top, CGP Gallery, London, GB, 2014; In-Visible, CGP Gallery, London GB, 2013; Pushing Print, Embassy Tea Gallery, London GB, 2013; RCA WIP Show, London GB, 2012; Singulier Pluriel, La Quincaillerie, Brussels BE, 2011
- The British Institution Award, RA Summer Show, 2014; Arts Club Charitable Trust Award, RA Summer Show, 2014; Shortlisted, Red Mansion Award, 2014
- Nicolas Gregoire, D'Etre et de tête, Yves Namur (ed.), 2014; Ellipsis journal, Issue A, 2014; RCA Printmaking Boxset, alt+ctrl+p, RCA, 2014; DAK Bethlehem and La Cambre joint publication, Bethléem/Bruxelles, La Cambre, 2011