OUTDOOR SCUPLTURE

Moving outside the gallery brings the work in a challenging

position in a very complex and competitive visual environment. Modular ceramic assemblages grow in either branch-like arrangements or vertical pillars.They are meant to be engaging in terms of texture, material and form.

Site specific work can also cary a social element bringing communities closer, becoming a vehicle for conveying thoughts

and opinions. Group workshops have produced messages which I used on installations that transformed everyday cityscape.

THIS IS NOT A JAR

Is a jar only a functional object? These vessels borrow metaphors, truisms and conceptual associations to question our experiences

and beliefs on the nature of craft and art.

ASSEMBLAGES

Bourgeois said: “To do an assemblage is a nurturing mechanism...

it is not an attack on things, it is a coming to terms with things. ...

But there is something else in the assemblage, there is the restoration and reparation. ...

You repair the thing until you remake it completely.”

I see the assemblage as an editing process of individual events which takes full meaning only when seen as a whole.

ASTATHIA

ASTATHIA is a state of mind where the painstakingly carefully built structure of oneself begins to crack, to succumb to uncertainty.

By chance or choice every encounter, event or experience brings

tension to an already precarious balance.

 Astathia in Greek  is  the negation of constancy, which  also  happens to be my name’s origin; hence an opportunity to question my identity.

INTERMINABLE

Responding to an exhibition at St Mary's church in Wimbledon that fell around the same time with my father's death I started

'unmaking' things and documenting the process of fragmentation.

A cyclical arrangement of shards of vessels around a holy tree

and a flip book of video stills where pots break and reassamble

were based on the idea of the interminable cycle of making-unmaking. 

ARGUMENTUM TERRAE & MORIMENT

Earth Arguments created a liminal space of doubt and uncertainty likening to the ambiguous character of death. It combined the versatile and transitional properties of clay with actions of twisting, breaking, displacing and distorting. Moriment was a three

dimentional death registry made of unfired clay and nespaper cuts. Clay skulls were handbuild on the basis of daily reports of fatalities and placed together with the news adds in a vertical timeline.

Both were installed in the Sir John Cass School of Art during

the MA show.

WORKS ON PAPER

Sketching, drawing and collage as part of the thought process leading to 3D projects.