Artist Bio

Mainly working with the possibilities that assemblage give, may practice is not tied to a particular medium or style. Taking found objects, usually at the end of their life and re-appropriating their narratives to form new ones, there is an unavoidably autobiographical meaning to be extracted from my objects. There used to be a point where I anchored my work to painting and although there is an undeniable link to that medium, this is no longer a primary concern of mine. Allowing my objects to exist as they are, somewhere in between painting and sculpture, frees my work and opens possibilities for me to create assemblages from materials with which I personally connect. 

The dis-guarded objects that i use convey an inherent sadness and a sense of anticipation.  It is precisely that feeling what I cling to, for it connects with me through my own life experiences.  Those objects are then paired with acrylic paint, which I obsessively rework into a self made material (normally monochrome). There is something ridiculously excessive in my fixation with acrylic paint which can verge on addiction when reworking it again and again.  Through draping, sculpting, casting or pleating I react to the tensions inherent to the materials which mirror the foldings of my own personal traumas. 

More recently my works have deployed pink, a colour I hadn't used before.  It was only days after my fathers passing away that I started painting exclusively in that colour. Although owning and using this colour has been liberating for its apparent links to my own sexuality, I am interested, from an allegorical point of view, in specific hues such as soft baby pink which I see, now, as non threatening and come across as a natural choice for me when trying to express through the tension of the materials my own beliefs and insecurities. When manipulating the form, I consider, colour, balance, composition or finishes i.e. matt or glossy, making it possible to direct it toward suggestions of the body, skin, entrapment, escape, fetish, intercourse, illness and mortality, all of which have A potential to be present in any given work. 

 Recent examples are The Small Things (2017) and then Holding On (2018), both of which are part of a growing body of work. Pink acrylic paint as a visual counterpoint to the low utilitarian quality of  wooden crates among other found objects that I also include in my work, bring about a personality that transforms them into proxies of me.  Working in this intuitive way with found objects and materials and  deciding that their assemblage is just right is a key part of my creative process for me any change can drastically alter the meaning. In falling (2017), the work  become even more anthropomorphic with an apparently light hearted approach that fails to comedically conceal darker idea of love, life and belonging.  

Curriculum Vitae

Lives and works in London.

Current Work 2018 -2019 Assisting CBE RA - Phyllida Barlow 


2014-2017 Masters of the Arts, University of the Arts - Central Saint Martin’s (Distinction) 

2016 Artist Internship with The Chapman Brothers

2011-2014 Bachelor of the Arts, London Metropolitan University (Distinction)

2011-2009 Diploma in Fine Art, City Lit (Distinction) 


2019 - About Painting, No 20 Arts. London

2019 - White Conduit Projects, The Size of Thoughts. London

2019 –MLF Marie-Laure Fleisch, Art Geneva. Switzerland

2018 - Five Years, Two Cakes. London

2018 - Peer Gallery, Bound. London 

2018 – MLF Marie-Laure Fleisch, Art Brussels. Avenue du Port 86C, 1000 Brussels, Bélgica

2018 - Cob Gallery, Form.  205 Royal College Street NW1 0SG 

2018 – Observatorium, Club Conscious. Samberstraat 40, 2060 Antwerp

2018 – MLF Marie-Laure Fleisch, In Favour of Three Dimensions. 13 rue Saint-Georges | Sint-Jorisstraat1050 Brussels 

2017 –Degree Show Central Saint Martins, Show 1. London, United Kingdom 

2015Complex Topography: The Garden, Global Art Project. Takamatsu, Japan 

2015 –La Cambre, Print! Galerie 425, Brussels, Belgium 

2015 – Angus Hughes Gallery, Summer Show. London, United Kingdom  

2015 –Laundry, You’re the reason our kids are ugly. London, United Kingdom. 

2015 - Charity Exhibition and Auction, Jezebel. London, United Kingdom

2015 -  The Catlin Guide 2015, New Artist in the UK. Business Design Centre, London, United Kingdom 

2014 - Affordable Art Fair, Recent Graduates. Battersea, London, United Kingdom

2014 –Degree Show, Cass 2014  London Metropolitan University United Kingdom

2014 - Charity Exhibition and Auction, 10x 10. The Shard, London, United Kingdom 

2014 - The Threadneedle Prize, Figurative art today. Mall Galleries, London, United Kingdom

2013 - Charity Auction and Exhibition, Platform Six. The Barge house, Oxo Tower, London United Kingdom

2013 –Dalston Lane, Mollify,  London, United Kingdom

2012 –Apricot Gallery, Who do you think you are? London, United Kingdom

Projects & Residency’s

2017-2018 – Helen Scot Lidgett Acme Project

2017 – Koppel Project Hive, London, United Kingdom

2017 – Nick Knight Video shoot for Tino Kamal at Show Studios, London, United Kingdom

2015 - Global Art Project. Takamatsu, Japan 

2013 - Platform Six London Sponsored by Adidas 

2013 – Nick Knight Video shoot for Kanye West at Pinewood Studios, London, United Kingdom


2016 – Night Flowers (Damen Frost)

2015 – Complex Typography, The Garden (Book)

2015 – The Catlin Guide 2015 (Book)  

2013 – Platform Six (Magazine)

2015 - 10x 10 Charity Auction


2017/18 - Helen Scott Lidgett/ Acme Award 

2015 Japan Residency

2014/17 - Vice Chancellor Scholarship (Central Saint Martins)

2017 – Koppel Project Hive Residency, London, United Kingdom