Other works

The Viewer’s Image: Participation and Presence

These sculptural works combine sisal, acrylic, and reflection to explore themes of identity, perception, and duality. Encased in clear acrylic boxes with mirrored bases, the heads invite a layered viewing experience—each form is reflected, echoed, and altered by the viewer's own presence. As the observer leans in, their face merges with the sculpture, blurring the line between self and other, subject and object.

The Last Letter: Memory, Love, and Protected Loss

The Last Letter is a deeply personal sculptural installation about memory, grief, and enduring love. At its centre lies a single bronze cast of the last shoe the artist purchased for his late wife—an object now transformed into a vessel of absence and remembrance. Alongside it, encased in clear perspex, are a memorial card, a lock of her hair, and the final letter she wrote, which only arrived after her death. She knew she was dying. Surrounded by brambles, detritus, and overgrowth, the case sits in a space of quiet desolation. And yet, the contents remain untouched, protected. It is a shrine to love, to loss, and to the echoes that remain when someone beloved is gone.

Erasure and Urban Memory

Invisible Reflections is a temporary outdoor installation documented through black-and-white photography. Constructed from found materials—discarded shoes, clothing, deodorant, plastic bags—all items were painted grey and placed in overlooked or derelict urban spaces. These quiet assemblages evoke the presence of those often unseen: people displaced, unhoused, or forgotten. The grey paint acts as both concealment and unifier, dissolving individual identities into the textures of the environment. Each photograph becomes a witness to what’s left behind—a sweater folded with care, a shoe on a wall, a sleeping bag in a corner. Though the figures are absent, their stories linger. These reflections ask us to notice, to remember, and to reckon with visibility and neglect.