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About me

I am an artist working across differing media from small scale sculpture in gallery contexts to larger scale site-specific installation, from 3D to photography and film.

Recently I have exhibited a short film as part of Empire II, an artist led satellite project devised for the 2017 57th La Biennale di Venezia. Amongst others I have also exhibited site-responsive projects for Directional Forces: Colony 55 during the 55th Venice Biennale in 2013 at the Magazzini del Sale and at All Saints Church, Burmarsh for Art in Romney Marsh festival 2010.

I was a founding director of TangentProjects an artist led collaborative curatorial project between 2008-2012 with artists Karen Ay and Helene Kazan and curated the Trash Vortex project for the 2009 Hackney Wicked festival.

 

Teaching

I am module tutor for the BA modules Art & Society and Photography in London and have contributed to teaching the MA Art & Visual Culture for the Production, Display & Discourse and Interpreting Space modules and supervised student dissertations for MA Museums, Galleries and Contemporary Culture.

I have also had the opportunity to be invited as guest lecturer/visiting artist to work with students on the BA Architecture at University of Kent in 2010 and BA Photojournalism & Documentary at University of Wales, Trinity St David in 2016.

Research

In 2011 I gained my MA in Art & Visual Culture at the University of Westminster and returned to the Department of English, Linguistics and Cultural Studies in 2012 to begin part-time doctoral research.

My research, titled 'Finding the Material of Memory in Place' investigates the architecture and site of the Barbican in the City of London and employs the method of Deep Topography, a term originally termed by writer Nick Papadimitriou that places walking and close observation of sites at its heart, to draw on the sites architecture as archival and to determine the relationship between place and memory. The research seeks to take this method of research that normally manifests itself in writing and to employ it in the development of an artwork, the method is used as a research tool for analysing the site and its architecture, to address the Barbican as a site of memory, creating an artwork that might enable the audience to read an absence of the past in the current architecture and to make these absences felt.