My work explores the way we navigate and interact with domestic spaces and how they become alien to us through certain spatial strains. Its origin lies within a sculptural sensibility, with the process starting in research and developing through drawing to creation of a final outcome.
The motivations behind my work are of my own personal investment as they derive from my own experiences. In particular, I have discovered that the interpersonal relationships we have within our home affect the way we relate to its spaces. Externalising these moments into physical sculptures demonstrates that space absorbs emotions. Lighting, framing and the placement of walls are important into how I relay these sentiments.
Cinema is a strong influence within my practice. It has made me look at interior in an evocative way in the context of dream recollection, especially within my childhood. Films that deal with fantasy and escapism in domestic environments have intensified the way I look at these spaces and how they function within reality. In David Lynch's 'The Lost Highway', for example, the use of restrictive camera angles and dark hallways supports the fear and paranoia that can be created through spatial manipulation.
In term of both research and location, site is an element that I pay particular attention too. Being situated within a space that I am then remodelling to become another space, gives the work and me a chance to relate to the existing architecture. As my works have developed, site has become paramount to the planning and outcome of my sculptures and installations.
The motivations behind my work are of my own personal investment as they derive from my own experiences. In particular, I have discovered that the interpersonal relationships we have within our home affect the way we relate to its spaces. Externalising these moments into physical sculptures demonstrates that space absorbs emotions. Lighting, framing and the placement of walls are important into how I relay these sentiments.
Cinema is a strong influence within my practice. It has made me look at interior in an evocative way in the context of dream recollection, especially within my childhood. Films that deal with fantasy and escapism in domestic environments have intensified the way I look at these spaces and how they function within reality. In David Lynch's 'The Lost Highway', for example, the use of restrictive camera angles and dark hallways supports the fear and paranoia that can be created through spatial manipulation.
In term of both research and location, site is an element that I pay particular attention too. Being situated within a space that I am then remodelling to become another space, gives the work and me a chance to relate to the existing architecture. As my works have developed, site has become paramount to the planning and outcome of my sculptures and installations.