My work centers on themes of identity, place and belonging through the visual vocabulary to which I am most drawn; the language of pattern and ornament. It fascinates me endlessly, with each line, curve, symmetry and rhythm sharing ideas and stories.
I’ve been fascinated with pattern for as long as I can remember and my interests are fairly eclectic. Everything from electronic music, to geometric line formation to topographic contour markings. I’ve a long held love for craft and design from the Middle East, North Africa and South Asia.
The most recent works reflect these interests but are rooted very much in a post-digital world. My pieces are developed using machines and computer code; a juxtaposition of contemporary tools with ancient craft and design.
The approach in actual presentation of the works is quite fluid - a more abstract interaction with a great deal of improvisation; I often am unsure of the final outcome. The surprise at the end result is part of the appeal. Drawing inspiration from across centuries and cultures - using machines and computer code as a way to present a visual language of my own.
Each piece begins with a single line and a circle which then are built into units to make up larger drawings. The digital drawings are developed across numerous layers using a combination of custom and Adobe software. A work is built on a physical and digital system using many units and parts in order to achieve the scale, detail and depth required. Once the drawings are complete they are cut in numerous layers on paper and mylar using a customised laser machine.
A single piece can take months to design, weeks to cut and can comprise of up to 200 individual layers. The final overlays are done entirely by hand. Ink and acrylic poured over mylar to create intensity of colour, hand applied crystals to create multi-faceted depths and an ever changing surface.