1.You have a clear interest in cartography and mention mapping as a method for designating space in your creative narrative. How is this reflected in your work?

I like maps, I like the idea of mapping space. Im fascinated with how people build and live in cities, how we construct and how we document. For me, the map is diagrammatically archiving a landscape. I like to think my sculptures achieve the same thing. I use materials from both industrial or domestic scenes, some recognizable like skirting board or architrave. I like to think the sculptures are digesting architecture. I am inspired by architectural drawings and models. Cartography and map making as a method of scientifically transcribing landscapes into readable, reliable diagrams, inherently has flaws. The Map Maker has the power to control this diagram’s purpose, context, and application; through its key, or it is important to deconstruct the map, to understand what it shows and for what purpose. Cartography serves as a conceptual framework that allows me to explore and reinterpret the spaces we inhibit. When thinking about this in the application of my sculptures in a space, their relationship with the space is important. By emphasizing or diminishing certain aspects of the existing architecture, there is a power dynamic between whats there already and what’s added. Individually, the sculptures function like a map. They are transcriptions of spaces, or rather a proposition of spaces.The titles of the sculptures. Installations as material maps. The straight line as purest inorganic thing.Frame of reference. Foreground. Working closely with the grid. The map also exists in the traces of the materials. Wood found from that places Ive been, a map that only would make sense to me, the map maker. I am interested in the play with relevancy. To what extent is it necessary for others to know the details of the material. These are things to play with. SELF QUOTATION.

2.In your installation pieces, there are often combinations of many everyday objects, particularly materials from working systems, such as radiators and desk fans. Why do you choose them, and how do you apply them?

The objects Ive been working with usually are components of airflow systems; fans didactically create and stifle. When creating the installation for the Degree Show I created drawings that lined the airflow starting from the ceiling fan, flowing down into and around the room. I wanted visual reminders throughout the pieces.