My practice is rooted in an ongoing engagement with landscape, material, and the traces of human intervention. Working across sculpture, photography, and ceramics, I explore environments shaped by industry, erosion, and neglect, and the quiet persistence of materials that endure beyond their original function.

I work primarily with found and discarded objects—rusted metal and driftwood collected from the banks of the River Thames and the north-eastern Kent coastline. These materials carry visible histories of labour, weathering, and use. By reassembling and recontextualising them, I aim to reveal both the resilience of the material world and the cumulative impact of human presence on the landscapes we inhabit and continue to degrade.

Photography has long formed an integral part of my practice, operating as a parallel way of observing and recording these environments. Through the camera, I am drawn to sites that feel relentless and uncompromising—places where natural and industrial forces collide. This sensibility carries through to my sculptural work, where structure, balance, and tension echo the engineered systems that once defined my professional life, while also acknowledging their fragility.

More recently, ceramics has become an important extension of my sculptural language. Working primarily through hand-building with slabs of clay, I create vessels, wall works, and geometric forms that reference containment, architecture, and constructed space. Clay allows for a slower, more tactile dialogue with material, one that embraces imperfection, weight, and surface as integral to meaning.

Across all media, my work reflects an interest in transformation—of materials, of landscapes, and of personal histories—seeking to hold moments of quiet resistance within environments marked by continual change.