I see my sculptural practice as a form of drawing in three dimensions using raw, industrially produced materials and objects. My works secrete themselves into architectural spaces; wrapping themselves around building joists; sliding through windows; sticking to walls.

This approach has been informed by an interest in the interplay between the two and three dimensional worlds that surround us, particularly in the urban environment. In city spaces are surrounded by billboards and printed images, mirrors and tv monitors. And this profusion of images and surfaces is exponentially increasing in our digital age.

I am interested in what happens when the boundaries between these worlds dissolve. What, for example, happens when digitally produced images become ‘real’ objects, or when the illusions created by reflective surfaces appear to be / confuse our sense of the real?

With these above ideas in mind I am drawn to materials that are downtrodden and frequently overlooked. Often they play an unseen, supporting role in our lives; aluminium and carpet underlay; hairgrips and screws. Often I mix hard and soft materials; masculine and feminine forms and textures, rhizomes and arborescent shapes. It is not by accident that tree or plant-like motifs proliferate in my work; these forms are subverted by the materials I use.

Contextually my work can be see to occupy a spectrum of practice that includes the work of Eva Hesse, Robert Morris, Arte Povera and ‘anti-form’ practices, and more recently the work of Cornelia Parker and Phyllida Barlow.