What are your main concerns?
My practice concerns the spatial qualities of wiring networks whilst navigating tensions between their strong aesthetic forms and inherent function. I do this through audio-visual media, sound installations, performance, and documentation.
What are your biggest influences?
My work is drawn from many influences – be it people or literature. I relate strongly to Tacita Dean’s obsessiveness, in following a subject by tracing its surface to the limit. The language of my practice also aligns with that of Gordon Matta-Clark, Amalia Pica, Charlotte Prodger and James Richards.
What’s the first thing you do? How does your process work?
Record and document everything – usually through photography or film. Often it is hard to distinguish how much of my work is driven by the materiality of the wires or the underlying concepts surrounding this hybridized information era. Only later does my process heavily gravitate towards a more dominant action or obsession with material and its function.
What do you enjoy most about the studio?
I love our studio as a transient and flexible space. There is a constant cycle of installing and de-installing. We have no territorial fixed individual spaces; everything keeps moving. The critical dialogues, combined with what I perceive as a hive-like ecology is crucial.
How has your work changed over the course of the degree?
The only difference in my practice has been the greater risks taken with time. I’ve always been interested in AV media. Technological representation being our only lens and filter through which to see – its prevalence and ubiquity is equally terrifying as thrilling!
What are your plans after graduation?
Initiating curatorial projects, Arts and Culture writing, getting to the Venice Biennale, applying for Arts Council grants, and earning enough to get by.
