Meteor 2016 Printed beach towel The work was initiated as a response to the 1998 film ‘Deep Impact’ and a scene where the character Jenny (Tea Leoni) reconciles with her estranged German father (Maximilian Schell) on a beach on the West Coast of America. As a tsumnami wave following a meteor strike travels towards them, they embrace for the last time. The film, one of a series of global disaster movies in the 90s intentionally or unintentionally synthesises global annihilation with a form of Lacanian Jouissance, excessive joy.

Meteor 2016
Printed beach towel
The work was initiated as a response to the 1998 film ‘Deep Impact’ and a scene where the character Jenny (Tea Leoni) reconciles with her estranged German father (Maximilian Schell) on a beach on the West Coast of America. As a tsumnami wave following a meteor strike travels towards them, they embrace for the last time. The film, one of a series of global disaster movies in the 90s intentionally or unintentionally synthesises global annihilation with a form of Lacanian Jouissance, excessive joy.

 Hypnos 2017 Broom, Print

Hypnos 2017
Broom, Print

 Parcel Tape Crucifix 2016  Bronze length-28cm Fascinated by the idea of contingency, this work, which is a bronze cast of a crucifix form constructed with parcel tape, became a means of visualising symbolism through urgency and desperation, This was the imagined  fictional context of the piece. The concept of immediacy configuring a means of familiarity in the face of hopelessness was equally informed by my interest in Daniel DeFoe’s novel-‘The Life and Strange Adventures of ‘Robinson Crusoe’ 1719.

Parcel Tape Crucifix 2016
Bronze length-28cm
Fascinated by the idea of contingency, this work, which is a bronze cast of a crucifix form constructed with parcel tape, became a means of visualising symbolism through urgency and desperation, This was the imagined fictional context of the piece. The concept of immediacy configuring a means of familiarity in the face of hopelessness was equally informed by my interest in Daniel DeFoe’s novel-‘The Life and Strange Adventures of ‘Robinson Crusoe’ 1719.

 Pub Fire 2014 Adapted Matchbox

Pub Fire 2014
Adapted Matchbox

 All Land No Sea 2018 Bossons portrait bust, clay, enamel

All Land No Sea 2018
Bossons portrait bust, clay, enamel

 Not 2016 Hanging printed Silk Tie

Not 2016
Hanging printed Silk Tie

Stalk 2018
Crowbar, props

 Terminal 2018 Skateboard, props, Biro, Glue stick

Terminal 2018
Skateboard, props, Biro, Glue stick

 After Katsushika Hukosai Mount Fuji 2018 Adapted Snooker Cue

After Katsushika Hukosai Mount Fuji 2018
Adapted Snooker Cue

 Moon 2012 Mirror, Spotlight

Moon 2012
Mirror, Spotlight

 Devine Violence #1 2016  Plaster, objects, paint

Devine Violence #1 2016
Plaster, objects, paint

 Devine Violence #2 2016  Plaster, objects, Paint

Devine Violence #2 2016
Plaster, objects, Paint

 Mono Curse 2016  Bronze

Mono Curse 2016
Bronze

 Hour of the Wolf 2016 Childrens Jacket with Sequins Inspired by the film ‘The Wanderers’ the work comprises a found children jacket and over a thousand sequins. It imagines one of a gang of tribalistic pre-teens whose emblematic and charasmatic uniform jacket has been fatetully mislaid.

Hour of the Wolf 2016
Childrens Jacket with Sequins
Inspired by the film ‘The Wanderers’ the work comprises a found children jacket and over a thousand sequins. It imagines one of a gang of tribalistic pre-teens whose emblematic and charasmatic uniform jacket has been fatetully mislaid.

 Island 2016 (detail) Wallpaper, nails, shaving mirror

Island 2016 (detail)
Wallpaper, nails, shaving mirror

 Nothing. No Thing 2017 Reconstructed Paper Plane Paper, ink, cut paper, Creaser, pencil A flightless paper airplane exactingly remade through drawing, cutting and folded with a creasing tool. The object of playful boredom is rendered as a stationary artefact. It continues my interest in the concept of negation.

Nothing. No Thing 2017
Reconstructed Paper Plane Paper, ink, cut paper, Creaser, pencil
A flightless paper airplane exactingly remade through drawing, cutting and folded with a creasing tool. The object of playful boredom is rendered as a stationary artefact. It continues my interest in the concept of negation.

 Spectre 1/20 2018  Clay, Oil, Acrylic, Graphite, Screw  A series of twenty wall based, actual size recreations of potatoes with characteristics of pareidolia. The works appear as found objects though their construction is intentionally evident in each form.

Spectre 1/20 2018
Clay, Oil, Acrylic, Graphite, Screw
A series of twenty wall based, actual size recreations of potatoes with characteristics of pareidolia. The works appear as found objects though their construction is intentionally evident in each form.

 Slaughtered Lamb 2018 Plastic, Porcelain clay, oil paint The title refers to the Inn - The Slaughtered Lamb, from the 1981 John Landis film ‘An American Werewolf in London’. Though set on the Yorkshire moors the actual filming location was a family pub in Surrey, now a gastro-hostelry. The work presents the aftermath of a bar lunch completed with a pentangle of fries, a small act of subversion.

Slaughtered Lamb 2018
Plastic, Porcelain clay, oil paint
The title refers to the Inn - The Slaughtered Lamb, from the 1981 John Landis film ‘An American Werewolf in London’. Though set on the Yorkshire moors the actual filming location was a family pub in Surrey, now a gastro-hostelry. The work presents the aftermath of a bar lunch completed with a pentangle of fries, a small act of subversion.

 Ghost 2018  Casting Plaster  The work is a cast of a slice of bread that had holes picked out by hand representing eyes and mouth, the sort of gesture a child would make or a moment of absent minded humour. The amphropomorphic form takes on the look of a ghostly spectre suspended on the wall laughing at us. The cast creates the impression of an adapted stale toasted slice.

Ghost 2018
Casting Plaster
The work is a cast of a slice of bread that had holes picked out by hand representing eyes and mouth, the sort of gesture a child would make or a moment of absent minded humour. The amphropomorphic form takes on the look of a ghostly spectre suspended on the wall laughing at us. The cast creates the impression of an adapted stale toasted slice.

 Middle Men 2018  Bluetack An ongoing series of bluetack male heads, each one is no larger than five centimetres in height or diameter. Each head represents a portrait of a middle aged drunk man gurning at the world, impotent and powerless.

Middle Men 2018
Bluetack
An ongoing series of bluetack male heads, each one is no larger than five centimetres in height or diameter. Each head represents a portrait of a middle aged drunk man gurning at the world, impotent and powerless.

 Neither 2018 Casting Plaster, Enamel Based on 16th C. alchemist and astrologer - Dr John Dee’s Scrying Mirror the work attempts to mute and debase the potential for magic.  The work imagines the mirror wrapped in plastic, sealed and muted. The original can be found at the British Museum London and this work approximates the originals scale and dimensions. Neither, the title of the work originates from a short text by Samuel Beckett.  The image shows the work in face-on and side on views. The work is hung flush to a wall.

Neither 2018
Casting Plaster, Enamel
Based on 16th C. alchemist and astrologer - Dr John Dee’s Scrying Mirror the work attempts to mute and debase the potential for magic. The work imagines the mirror wrapped in plastic, sealed and muted. The original can be found at the British Museum London and this work approximates the originals scale and dimensions. Neither, the title of the work originates from a short text by Samuel Beckett.

The image shows the work in face-on and side on views. The work is hung flush to a wall.

 Meteor 2016 Printed beach towel The work was initiated as a response to the 1998 film ‘Deep Impact’ and a scene where the character Jenny (Tea Leoni) reconciles with her estranged German father (Maximilian Schell) on a beach on the West Coast of America. As a tsumnami wave following a meteor strike travels towards them, they embrace for the last time. The film, one of a series of global disaster movies in the 90s intentionally or unintentionally synthesises global annihilation with a form of Lacanian Jouissance, excessive joy.
 Hypnos 2017 Broom, Print
 Parcel Tape Crucifix 2016  Bronze length-28cm Fascinated by the idea of contingency, this work, which is a bronze cast of a crucifix form constructed with parcel tape, became a means of visualising symbolism through urgency and desperation, This was the imagined  fictional context of the piece. The concept of immediacy configuring a means of familiarity in the face of hopelessness was equally informed by my interest in Daniel DeFoe’s novel-‘The Life and Strange Adventures of ‘Robinson Crusoe’ 1719.
 Pub Fire 2014 Adapted Matchbox
 All Land No Sea 2018 Bossons portrait bust, clay, enamel
 Not 2016 Hanging printed Silk Tie
 Terminal 2018 Skateboard, props, Biro, Glue stick
 After Katsushika Hukosai Mount Fuji 2018 Adapted Snooker Cue
 Moon 2012 Mirror, Spotlight
 Devine Violence #1 2016  Plaster, objects, paint
 Devine Violence #2 2016  Plaster, objects, Paint
 Mono Curse 2016  Bronze
 Hour of the Wolf 2016 Childrens Jacket with Sequins Inspired by the film ‘The Wanderers’ the work comprises a found children jacket and over a thousand sequins. It imagines one of a gang of tribalistic pre-teens whose emblematic and charasmatic uniform jacket has been fatetully mislaid.
 Island 2016 (detail) Wallpaper, nails, shaving mirror
 Nothing. No Thing 2017 Reconstructed Paper Plane Paper, ink, cut paper, Creaser, pencil A flightless paper airplane exactingly remade through drawing, cutting and folded with a creasing tool. The object of playful boredom is rendered as a stationary artefact. It continues my interest in the concept of negation.
 Spectre 1/20 2018  Clay, Oil, Acrylic, Graphite, Screw  A series of twenty wall based, actual size recreations of potatoes with characteristics of pareidolia. The works appear as found objects though their construction is intentionally evident in each form.
 Slaughtered Lamb 2018 Plastic, Porcelain clay, oil paint The title refers to the Inn - The Slaughtered Lamb, from the 1981 John Landis film ‘An American Werewolf in London’. Though set on the Yorkshire moors the actual filming location was a family pub in Surrey, now a gastro-hostelry. The work presents the aftermath of a bar lunch completed with a pentangle of fries, a small act of subversion.
 Ghost 2018  Casting Plaster  The work is a cast of a slice of bread that had holes picked out by hand representing eyes and mouth, the sort of gesture a child would make or a moment of absent minded humour. The amphropomorphic form takes on the look of a ghostly spectre suspended on the wall laughing at us. The cast creates the impression of an adapted stale toasted slice.
 Middle Men 2018  Bluetack An ongoing series of bluetack male heads, each one is no larger than five centimetres in height or diameter. Each head represents a portrait of a middle aged drunk man gurning at the world, impotent and powerless.
 Neither 2018 Casting Plaster, Enamel Based on 16th C. alchemist and astrologer - Dr John Dee’s Scrying Mirror the work attempts to mute and debase the potential for magic.  The work imagines the mirror wrapped in plastic, sealed and muted. The original can be found at the British Museum London and this work approximates the originals scale and dimensions. Neither, the title of the work originates from a short text by Samuel Beckett.  The image shows the work in face-on and side on views. The work is hung flush to a wall.

Meteor 2016
Printed beach towel
The work was initiated as a response to the 1998 film ‘Deep Impact’ and a scene where the character Jenny (Tea Leoni) reconciles with her estranged German father (Maximilian Schell) on a beach on the West Coast of America. As a tsumnami wave following a meteor strike travels towards them, they embrace for the last time. The film, one of a series of global disaster movies in the 90s intentionally or unintentionally synthesises global annihilation with a form of Lacanian Jouissance, excessive joy.

Hypnos 2017
Broom, Print

Parcel Tape Crucifix 2016
Bronze length-28cm
Fascinated by the idea of contingency, this work, which is a bronze cast of a crucifix form constructed with parcel tape, became a means of visualising symbolism through urgency and desperation, This was the imagined fictional context of the piece. The concept of immediacy configuring a means of familiarity in the face of hopelessness was equally informed by my interest in Daniel DeFoe’s novel-‘The Life and Strange Adventures of ‘Robinson Crusoe’ 1719.

Pub Fire 2014
Adapted Matchbox

All Land No Sea 2018
Bossons portrait bust, clay, enamel

Not 2016
Hanging printed Silk Tie

Stalk 2018
Crowbar, props

Terminal 2018
Skateboard, props, Biro, Glue stick

After Katsushika Hukosai Mount Fuji 2018
Adapted Snooker Cue

Moon 2012
Mirror, Spotlight

Devine Violence #1 2016
Plaster, objects, paint

Devine Violence #2 2016
Plaster, objects, Paint

Mono Curse 2016
Bronze

Hour of the Wolf 2016
Childrens Jacket with Sequins
Inspired by the film ‘The Wanderers’ the work comprises a found children jacket and over a thousand sequins. It imagines one of a gang of tribalistic pre-teens whose emblematic and charasmatic uniform jacket has been fatetully mislaid.

Island 2016 (detail)
Wallpaper, nails, shaving mirror

Nothing. No Thing 2017
Reconstructed Paper Plane Paper, ink, cut paper, Creaser, pencil
A flightless paper airplane exactingly remade through drawing, cutting and folded with a creasing tool. The object of playful boredom is rendered as a stationary artefact. It continues my interest in the concept of negation.

Spectre 1/20 2018
Clay, Oil, Acrylic, Graphite, Screw
A series of twenty wall based, actual size recreations of potatoes with characteristics of pareidolia. The works appear as found objects though their construction is intentionally evident in each form.

Slaughtered Lamb 2018
Plastic, Porcelain clay, oil paint
The title refers to the Inn - The Slaughtered Lamb, from the 1981 John Landis film ‘An American Werewolf in London’. Though set on the Yorkshire moors the actual filming location was a family pub in Surrey, now a gastro-hostelry. The work presents the aftermath of a bar lunch completed with a pentangle of fries, a small act of subversion.

Ghost 2018
Casting Plaster
The work is a cast of a slice of bread that had holes picked out by hand representing eyes and mouth, the sort of gesture a child would make or a moment of absent minded humour. The amphropomorphic form takes on the look of a ghostly spectre suspended on the wall laughing at us. The cast creates the impression of an adapted stale toasted slice.

Middle Men 2018
Bluetack
An ongoing series of bluetack male heads, each one is no larger than five centimetres in height or diameter. Each head represents a portrait of a middle aged drunk man gurning at the world, impotent and powerless.

Neither 2018
Casting Plaster, Enamel
Based on 16th C. alchemist and astrologer - Dr John Dee’s Scrying Mirror the work attempts to mute and debase the potential for magic. The work imagines the mirror wrapped in plastic, sealed and muted. The original can be found at the British Museum London and this work approximates the originals scale and dimensions. Neither, the title of the work originates from a short text by Samuel Beckett.

The image shows the work in face-on and side on views. The work is hung flush to a wall.

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