I am a visual artist who lives and works in Perth, Western Australia. My practice shows an interest in materiality, time and space. This involves using symbolic materials to explore interconnected narratives, and to create simulations of places which open up alternative ways of knowing the past, and possible futures. These places show scars of past human intervention whilst succumbing to the chaos of nature. Their decay releases memories of abandoned futures: they are pluritemporal.

At the core of my work is a fascination with the competing systems of knowledge and subjective histories that shape our values and the natural world around us. Questioning notions of idyllic progress, I allude instead to the silenced or forgotten voices, and dangerous and unpredictable outcomes that continue to play out. My focus on materials is intended to reflect upon how the past, present and future interact, but also points to the relationship between culture and nature.

I have a background in science, researching climate change, which pours into artwork that embodies my fears and preoccupation with the future. I came to question the scientific pursuit of ‘value-free’ objectivity and positivism (particularly in psychology and geography), while working in an interdisciplinary research organisation. Issues of morality and subjectivity are deliberately overlooked or omitted, which has implications in terms of how science can contribute to sustainability.

In order to convey an undercurrent of danger and unpredictability, I often use chance procedures to determine the composition of the work. This includes experimental processes of transformation (such as oxidisation, and melting ice), and materials which demonstrate decay (such as debris, plants and salvaged objects). These techniques demonstrate indeterminacy, and implicitly refer to philosophical and scientific uncertainty. Uncontrollable processes are contrasted against techniques which represent control, such as carving, carpentry, and industrial processes.

A tension between artificial and natural, order and chaos, surface and form characterises my work. Often situated between two and three dimensions, my practice consists of sculptures with attention directed to the surface, which act as vessels for pools of organic colour. Irregular natural forms juxtapose brutal geometric structures which recall modernist and industrial architecture. Two dimensional works also feature which play with space and optical illusion.

I aim to convey the sense of a trashed utopian dream, and present a vision of society that is frightening yet beautiful. Caught somewhere between sorcery and science-fiction, a sense of simmering danger permeates my work. This is intended to invoke contradictory feelings of attraction and repulsion, and to question conflicted human drives and moral ambiguities.