2024
2023
2022
2021
2020
2019
drawings
Spring Steel Wires
6 channel sound installation, 02:08:18, 2025
Constructed from field recordings captured in the vicinity of public pianos in various railway and tube stations, this piece was installed in Manchester Art Gallery during Which Human Is Correct?
By sequencing and processing the recordings over an extended duration, the composition is sensitive to the idiosyncrasies of each uncredited piano player, whilst also appealing to the desire for the piano to exist as a cultural symbol outside of the flow of time, echoing the architectural principles of MAG’s neo-classical entrance hall where it was installed.
6 channel sound installation, 02:08:18, 2025
Constructed from field recordings captured in the vicinity of public pianos in various railway and tube stations, this piece was installed in Manchester Art Gallery during Which Human Is Correct?
By sequencing and processing the recordings over an extended duration, the composition is sensitive to the idiosyncrasies of each uncredited piano player, whilst also appealing to the desire for the piano to exist as a cultural symbol outside of the flow of time, echoing the architectural principles of MAG’s neo-classical entrance hall where it was installed.
Be In Touch
set of 6 dishes, turned sapele hardwood, 2021
Made in collaboration with retired cabinetmaker Brian Ainsclough during lockdown 2020.
The dimensions of the work are not fixed, and the arrangement of the dishes changes with each installation.
An Amphibian
pigmented plaster, 2024
Plaster cast of an oak beam in the roof of 7 Little Underbank, Stockport. Rumored to be a gunwale salvaged from a ship from the Battle of Trafalgar, the beam runs across the apex of the roof, through the lofts of three separate buildings. This piece is a meditation on interior spaces, parralel lives and the metamorphosis of objects in relation to historical narratives.
pigmented plaster, 2024
Plaster cast of an oak beam in the roof of 7 Little Underbank, Stockport. Rumored to be a gunwale salvaged from a ship from the Battle of Trafalgar, the beam runs across the apex of the roof, through the lofts of three separate buildings. This piece is a meditation on interior spaces, parralel lives and the metamorphosis of objects in relation to historical narratives.
Units (after Brancusi)
disposable cups and plaster, 2023
disposable cups and plaster, 2023
Monument to the Vanquished Peasant Rebellion
multimedia installation, 2021
multimedia installation, 2021
Untitled
bronze, 2019
bronze, 2019
The Sign ongoing:
Tour de France, Tour de France
waste vinyl on corrugated plastic, 2024
waste vinyl on corrugated plastic, 2024
Alicudi to the Arenberg
waste vinyl on corrugated plastic, 2024
waste vinyl on corrugated plastic, 2024
Ventoux
waste vinyl on corrugated plastic, 2024
waste vinyl on corrugated plastic, 2024
The Data
waste vinyl on corrugated plastic, 2024
waste vinyl on corrugated plastic, 2024
Sign-on
waste vinyl on corrugated plastic, front and reverse, 2024
Works in this series pay tribute to my dad’s collection of professional bike racing memorabilia, spanning various ‘golden eras’ of the sport from the 1940s to the present. Mostly consisting of printed materials, disposable race signs, banners and accreditation passes, the collection seems to avoid heroic depictions of figures of the sport, instead being made up of paraphernalia without which the races and grand tours would not function.
Responding to my dad’s identity as a hobbying collector, this series appropriates the sign as a basic unit of his collection, and the sign in Semiotics, referring to the way meaning reaches us through our senses first and foremost. Both of our lives are spent in relationship with objects, consequently I am investigating how things which exist outside of our bodies such as words and symbols can direct our thinking as father and son.
waste vinyl on corrugated plastic, front and reverse, 2024
Works in this series pay tribute to my dad’s collection of professional bike racing memorabilia, spanning various ‘golden eras’ of the sport from the 1940s to the present. Mostly consisting of printed materials, disposable race signs, banners and accreditation passes, the collection seems to avoid heroic depictions of figures of the sport, instead being made up of paraphernalia without which the races and grand tours would not function.
Responding to my dad’s identity as a hobbying collector, this series appropriates the sign as a basic unit of his collection, and the sign in Semiotics, referring to the way meaning reaches us through our senses first and foremost. Both of our lives are spent in relationship with objects, consequently I am investigating how things which exist outside of our bodies such as words and symbols can direct our thinking as father and son.
Annual Leaves, 2023 - 2024
A stack of fluorescent orange Post-It notes are mounted back-to-front and upside-down by a window in the Picture Framing workshop in Manchester School of Art. Over time, the outermost Post-It fades in colour and curls from exposure to the sun, possibly becoming a miniature landscape with a paper white sky and orange horizon. When the transformation appears to be complete, the Post-It is removed, beginning the process again.