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From an early age, I was surrounded by art and creativity. Growing up in a vibrant, rural environment among various livestock, I gained a deep appreciation for the natural world and its influence on artistic expression. This upbringing shaped my understanding of diverse styles, materials, and the intricate relationships between shape, form, and space. Spending time in nature, photographing both landscapes and the wildlife that inhabit them, has long fascinated me. This passion continues to shape my creative journey as an adult, deeply informing the work I produce today.

 

My practice has evolved through a combination of formal education, independent exploration, and hands-on experience. Studying A-Level Art sparked my interest in installation and spatial dynamics, deepening my understanding of how materials interact with shape and form. The exceptional facilities allowed me to experiment with a wide range of methods and techniques. Having teachers who were all practicing artists provided valuable insight into what it means to exhibit work and maintain a professional artistic practice.

 

During this phase of my practice, I began collecting found materials, scrap plastic, wood, metal, and objects that held a sculptural quality or the potential to be reimagined through a different lens. What was once discarded became material for transformation. This hands-on process allowed me to express my ideas in a tangible form and share them with others. Exhibiting these installations and speaking about them was, and continues to be, a deeply rewarding, almost magical experience.

 

This creative exploration also drew me outside more often, encouraging me to walk through the landscape around my home, observing the slow shifts in nature and the changing seasons. Looking back, I see a quiet thread connecting those early, intuitive observations to the core of my current practice, now enriched by reflection and understanding. 

 

‘Nothing is Lost’ was my first sculptural work, constructed and painted using pieces of discarded scrap metal I found embedded in my local landscape. These remnants, once shiny and functional parts of agricultural machinery, had been overtaken by time and the elements. Nature transformed their physical properties, eroding their original purpose while embedding them with a new, raw beauty. This transformation, along with the historic legacy of the materials, deeply fascinated me. My sculptural process was guided by this interaction, between the man-made and the natural, between decay and reinvention. ‘Nothing is Lost’ marked the beginning of my journey into sculpture, a moment where I began reimagining the value of forgotten objects, transforming them into something both aesthetically engaging and conceptually meaningful.

The piece was selected for exhibition at the Royal Academy’s Young Artists’ Summer Show, a milestone that affirmed the potential of this approach, ambition and encouraged further exploration.

 

My ambition to become a sculptor is driven by a deep desire to share my explorations, translating what I observe and experience into sculptural forms for others to view, interpret, and engage with. Led me to work with two blacksmiths, learning first-hand how to bend, cut, and weld steel. This experience gave me a practical understanding of how workshops fabricate large-scale sculptures. 

 

At the Glasgow School of Art, an institution with an international reputation, I refined my skills in sculpture and printmaking. The excellent facilities and space allowed me to develop a strong understanding of material processes. 

 

I worked with a UK-based foundry in Edinburgh to produce my first bronze series. Before beginning production, I spent time in each section of the foundry to gain a thorough understanding of the casting process. This hands-on learning allowed me to grasp how my work would be made and, in turn, informed my designs, enabling me to create pieces that were not only conceptually strong but also more practical to manufacture.

 

Today, my work is grounded in personal observation and lived experience. Each sculpture begins with a drawing, a process where thoughts evolve into lines, and lines into form. Everything we see holds sculptural potential; it’s simply a matter of transforming perception into presence. . I combine traditional, hands-on techniques with digital technologies in my practice, drawing on my interest in mid-twentieth-century sculpture to explore it through a contemporary lens

Learning new tools and processes has significantly expanded my perspective, shaping how I think, how I make, and what becomes possible within the work. My sculptures are designed not to be decoded but to be experienced, visually, emotionally, and spatially. The mirrored finishes encourage interaction, inviting viewers to see themselves and their environment within the work.

As I continue developing my practice, I aim to install my sculptures across the world, creating site-specific encounters that enrich public and private spaces. I produce limited-edition pieces to maintain the integrity and exclusivity of each work.