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      <image:caption>Flight Test 2017 Three part sound installation installed over three floors at Siobhan Davies Dance Studio Three compositions of sounds collected with contact-microphones at Siobhan Davies Dance Studios from daily repetitions in the communal spaces downstairs and rehearsal rituals and dancers' heartbeats in the studios. Imitating echo architecture, I played these compositions of rituals and repetitions in the stairwell across three floors, to resonate with activities and life of the building.</image:caption>
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      <image:caption>Echolocation for protection against aural hypersensitivity 2020 Sound and a handful of stones Sizes variable In moments of hypersensitivity and anxiety, sight and sound can magnify themselves and present as a pressure on the body and a hinderance to steady cognition. Echolocation for Protection Against Visual and Aural Hypersensitivity is a recording of a practise in sight through sound, which proffers a solution to this problem by adopting humming echolocation techniques for the Blind. The repetitions tune out the visual and aural world, and the technique for ‘seeing’ allows one to reach a place of safety. The recording tracks my movement from outside, through the building where I live, up 3 flights of stairs to my bedroom, and the far corner where my bed is.</image:caption>
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      <image:caption>Pale Fire 2019 Steel, bin liners, fans, metal grate, collected sound Sizes variable Pale Fire is an enactment of a London Tube train platform where everything seems counter to normal logic. Instead of taking in fluid, a water drainage grate emits sound and wind, which in turn blows rustling and shivering plastic bin bags up into the air like pulsating lungs. Translucent bin liners on train platforms have adapted — due to an ever-intensifying superstition of bombs and terrorist attacks — to reflect contemporary fears and paranoia about what could be concealed in our rubbish, in our private, hidden spaces, and even, our psyches. They are transparent, and, like all attempts at transparency and honesty, reveal little other than our thinly veiled anxieties. This gossamer thin shroud is a vessel of trauma, the changing outline of which can be clearly seen, but with chaotic innards that are always indecipherable. The whole installation has a texture of barely perceptible resonances and echoes rather than notes or sounds: the intonation of compressed air escaping a hole, the panicked rustle of plastic, the screech of a train because its wheels don’t fit the track, and even, it’s not hard to imagine, the crackle of paint drying and peeling. The sound of the history in its layers, arguments and intense conversations playing out like a record as they flake off.</image:caption>
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      <image:caption>Sonorous Bones - An Archive of Exhales 2020 1000 photographs of clay pipes on vellum, 1000 twenty second recordings of exhales through the 1000 pipes, 3000 measurements of 1000 pipes Variable sizes I amassed 2000 clay pipes from the Thames over two years of ritualistic walks along the foreshore. In this Archive of Exhales I brought 1000 of these pipes to life with sound to evoke a presence of the people who had breathed life into the objects centuries ago; recording myself completing the breath cycle for each pipe and building an archive of sonorous exhalations. The sounds alone are fragile whistles, together a deafening bird-like soundscape. From these water relics emerges a relationship balanced between intimacy and preservation. Each pipe represents an inhalation, a primal and human gesture of taking something in hand and bringing it to the lips. The gesture is intimate. Every pipe is an archive. The archive includes 1000 recorded exhales and 1000 photographs printed on vellum, documenting the dimensions of each pipe.</image:caption>
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      <image:caption>Cleave 2018 Bone, resin, water, ash, motors, arduino boards, cloth, stones, thread, steel, pvc Variable sizes Cleave is made up of 5 steel bodies. Each one is made to the height of someone in my family, and comprises of a whistle that I have cast in bone and resin which acts as a mouthpiece or head and a deconstructed shirt belonging to the person, that I have pulled apart and sewn back together to make a sack. These sacks are filled with the dead weight of stones, and slowly pull themselves apart under their own weight, leaving memorial stones at their base. The whistles require human interaction; their microphones are programmed to hear certain vocal pitches and their wails begin when they hear room chatter which triggers the motors. These motors tip water back and forth between two chambers, pushing the air out through the 3D printed ‘mouths’. The recreation of the wails of family members allude to expressions of mourning for feelings of trauma we are not able to process. In the installation, the raspberry pies, arduino boards, microphones and motors, fit into the different metal structures like the brains of people. In extending this criticism of humanity’s increasing disassociation from their feelings, the very thing that mutes our emotions, technology, is here used like a prosthetic. In this installation, technology expresses our pain for us. All we have to do is speak to it to set it in motion.</image:caption>
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      <image:caption>Ode to Yankee Jack 2019 Stone, porcelain, piano wire, pvc tubes 300cm x 140cm x 40cm This piece was selected by Arts Council England to be built in the town centre of Watchet. Taking the notes of a song made locally famous by Captain John Short, I worked on a series of string instruments which could sit in the middle of a drystone wall and echo those same notes as the wind came in off the harbour and funnelled through the porcelain pipes I had made which sat between the stones.</image:caption>
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    <lastmod>2025-01-27</lastmod>
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      <image:title>Works - Paper and Drawing</image:title>
      <image:caption>Wailing Wall 2016 Baking paper and resin 600cm x 500cm The idea of lamenting in front of a wall intrigues me. It is both public and private, open and confined, isolating and connective, absurd and deeply sad. Wailing Wall is made up of thousands of birds cut into baking paper and assembled into two lace-like curtains in an attempt to make beautiful the negative space. Light enough to be buffered by motion in the room, they scratch light noises across the floor. The passage of time causes ruptures in the reprocessing of memories: whilst identifiable as birds when stood back, up close they become a body of lacerations and cuts, holes in which to stuff prayers, fragile enough to almost be pulled apart by its own weight.</image:caption>
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      <image:caption>Flock 2016 Ink, acrylic and vegetable oil on paper 100 sheets of 40cm x 50cm</image:caption>
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      <image:caption>Documents 2017 Regurgitated papers of importance and stones Series of 16, each 21cm x 30cm Each piece within this series is a regurgitated paper of importance which has been reduced down to the very basic material to remove its defining contents or context. Including a letter from my Dad, wrapping from my Grandma, and an envelope concealing a decision, Documents seeks neutrality, and simplicity through secrecy.</image:caption>
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      <image:caption>Fly Tape 2020 Ink and pencil on receipt paper Size variable When we get stuck, we hum. In a city when there is silence, there is still a hum. When the TV is switched off, the screen hums. Bees hum. Flies hum. Light hums. Expanding this millisecond of nothing into a period of contemplation and loss, I have flooded a wall with strips of paper which fall from ceiling to floor. The flies are our niggling thoughts and memories which cease to fully leave us alone. Fly Tape catches them and holds them still.</image:caption>
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      <image:caption>Untitled 2017 Soap and dust on paper Series of 3, each 60cm x 84cm Dismember: to take apart. Remember: to put back together. Exploring the ways in which memory and remembrance feed, alter and rewrite our perceptions of events and interpretive frameworks, I made tools out of reconfigured bars of soap filled with black dust and used these to draw with. Using these hand held pieces of soap, I created drawings that would destroy and erase themselves simultaneous to the process of the marks being made.</image:caption>
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      <image:caption>I, and not a Seraph 2016 Pencil and scratches on tyvek Two sheets of 400cm x 200cm I, and not a Seraph was made for Kunsthaus Dahlem as an intervention among their permanent collection. Each scratch or scar to the surface fuses the layers of the delicate fabric together, making it translucent when held up to the light. I wanted to make a piece that held the repetitive scars in the grain of its fabric, whilst also illuminating them enough to make them somehow beautiful. As a descendent of refugees, my aim was to show that while iteration after iteration can engrain a belief, repetition can perhaps also soothe trauma.</image:caption>
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