• 360

  • Pithváva

    A wall based installation created from tens of thousands of dentalium shells sustainably harvested along the Pacific coast of Northwest America.

    Dentalium shells have been used by First Nations and Native Americans as a highly valued trade item for thousands of years. Oral history of the Yurok, an indigenous Californian tribe, refers to Pithváva, a deity who created dentalium shells and dictated their significance as sacred wealth. Whilst articulating my vision of this deity in visual terms, this installation also explores the notion of sacred wealth as an art form thorough a contemporary artisanal method of creation.

    The two distinctive surface areas within the piece are created from opposing end of the shells, with the intention of celebrating the true beauty of the material itself. Utilising a combination of two part epoxy resin and a hybrid silicone adhesive each shell is manually glued together. As layers of the shells build up the inherent curvature of the shells informs the three dimensional aspect of individual forms. As one form is competed the next is born, shell by shell this installation organically evolved as a collection of self informed brush strokes.
  • Untitled

    Abstract three dimensional landscape created from mirrored polyester. 100cm x 100cm x 12cm.
  • Incidere Ora

    A leather based installation commissioned by Gallery Fumi for Pavillion des Arts et du Design, Paris, March 2012. Thousands of individually sculpted leather forms are amalgamated in the creation of a series of three dimensional landscapes.
  • WWF Sculpture

    A wearable sculpture co-commissioned by Artwise Curators and The Worldwide Wildlife Fund (WWF), for the charity event Pandamonium 2. Created utilised folded paper from surplus WWF magazines, the sculpture is intended as reflection of world issues such as sustainability and conservation; The recycling/reusing of WWF literature referencing sustainability, and the fragility of the material itself, conservation.
  • Iambic Rhythm

    A site specific kinetic installation commissioned by Veuve Clicquot for the Andaz, Liverpool Street. Iambic Rhythm was derived from an anatomical interpretation of the architecture and it's function within the Andaz.

    The Rotunda, a six storey atrium space was chosen as the project site. Spatially the Rotunda connects the ground floor lobby/reception room to every other level of the building, whilst a lift shaft running parallel to the space serves the movements of guests. Similarities can be drawn between functions of lobby and the human heart. As the heart accommodates the purpose of all other organs in the human body, the lobby or reception area serves the function of every other room with in the Andaz. Likewise an anatomical parallel can be found between the Rotunda and the arteries and veins with in the human body. Both a means of connection and transportasion for their respective environments.

    Iambic Rhythm was intended to play with this notion, animating the space in kinetic terms. I sought to give the Rotunda a pulse and the lobby a heart, a physical manifestation referencing the living and breathing architecture that the project occupied.

    The installation itself consists of a grid of thirty-two, 25 meter lengths of rope, that are strung under tension the vertical length of the Rotunda. A crank slider mechanism at the base of the installation anchors the ropes. Kinetic energy created by sharp lateral movements of crank slider mechanism is transferred to the grid of ropes. In turn this kinetic energy passes through the length of ropes generating a range of wave like movement that ungulate through the space.
  • Future By Artisan

    An interactive performance based installation that challenges the Artisan's role with in the future of design. Future By Artisan was commissioned by Fendi as part of Fato a Mano (Handmade), and shown across Europe including London (LDF), Milan (Salon de Mobile) and Venice (Venice Biennale).

    The project was derived from research into the traditions and techniques of Fendi's highly skilled artisans, conducted at Fendi's prototyping factory in Florence. Whilst highly suffocated technology exists to increase efficacy of production, saving time and waste material, age-old techniques synonymous with the traditions of craftsmanship are still implemented throughout the creation process at Fendi. There exists a stunngingly human quality to products made by artisans that can not (currently), be achieved utilising modern machinery. It is this relationship between the traditions of the past and the tools of the future that Future By Artisan attempts to question.

    Future By Artisan comprises of multiple components; The heartbeat of a Fendi Artisan is measured in real time by heart monitor. This data is sent wirelessly to an adapted antique riveting machine which effectively punches upon leather stripes the rhythm of the heart itself. The distance between each punched hole corresponds directly to the Artisan's emotive state. A calm or relax state increases the distance between punched holes and an excited or anxious state decreases the distance between punched holes. The punched leather stripes are then fed manually onto a series of steel rods and are reborn in the creation of a sculpture. The sculpture itself is a physical map depicting the emotive state of the Artisan for the duration of the performance.

    'Reflecting upon the two aspects, the human and the mechanical, Mersh questions the role of man within industrial evolution. In the case of Fendi, the artisan remains the firm starting point, the cuore of the process. And no matter how much technology may progress, it will never be able to substitute the experience of the craftsmen themselves.'

    Carlo Prada 
  • Ichthammol

    A wall based installation commissioned by Gallery Fumi, shown at Gallery Fumi, Porto Cervo, Sardinia, Summer 2011. Referencing sea urchins found off the Sardinian coast line, Ichthammol consists of 50 domed sculptures ranging from 16cm - 35cm in diameter. Created from over 80,000 dip dyed toothpicks and synthetic spheres.

    Dedicated to the memory of S.T.

    NB. Regarding images; Ichthammol in situe and at the London studio.
  • St Moritz Leather Installation

    3.5 metre x 1.8 meter leather based installation, commissioned by Gallery Fumi for a private residency in St Mortiz, Switzerland.
  • Parkinson’s Law

    Fabric Sculpture commissioned by George Frack for the opening of Great Western Studios. Derived from Parkinson's Law (work expands so as to fill the time available for its completion), and created utilization a self-developed technique 'the innate spiral', from which it is possible to generate an organically spiraling, three dimensional structure from a tube of stretch jersey and encompassed object. Currently measuring 8 meters in length and up to 2.5 meters in width, Parkinson's Law is set to grow in size each time it is exhibited. Constructed from rubber balls and knitted stretch jersey.
  • Table

    250cm x 110cm table co-commissioned by Fendi and Gallery Fumi for London Design Week 2010. Table top created utilising off cuts and waste Fendi leather, cut into strips and sandwiched between perspex.
  • Leather Installation

    4.5 metre x 2 meter wall-based leather installation, co-commissioned by Fendi and Gallery Fumi for London Design Week 2010. Created utilising off cuts and waste Fendi leather.
  • Chandelier

    A collaborative project with Bob Lormier of Super Shop London. Co-commissioned by Fendi and Gallery Fumi for London Design Week 2010.
  • Jewellery

    A one off collection of jewellery co-commissioned by Fendi and Gallery Fumi for London Design Week.  Created utilising off cuts and waste Fendi leather, sculpted into coils and assembled on leather cord.
  • Fabric Sculpture (Untitled)

    Abstract Fabric Sculpture commissioned by The Jerwood Foundation for the Jerwood Contemporary Makers show, London, 2010. An exploration into tonal shading of a sculptural form. Created from stretch jersey and synthetic balls. Measuring 110cm in length and 5cm to 40cm in width.
  • Invisible Boundaries

    A site-specific installation derived from the exploration of a derelict space in West London. I sought to challenge the notion of invisible boundaries created by passages of light and shadow within this broken environment. Over one hundred and fifty miles of cotton thread was used, strung between points of structural relevance, physically plotting paths of light and shadow throughout the course of the day. The result is the evolution of an alternative architectural landscape.
  • Plexiglass Chandelier

    Privately commission chandelier created from plexiglass rod and a vacuum formed polyethylene base. 120cm (width) x 80cm (height).
  • Corn Installation

    A site specific installation commissioned by Gallery Fumi for Corn Craft, London, Autumn 2009. Aesthetically derived from the rolling agricultural fields found in parts of rural England, the installation utilised over 40,000 individual stems of corn linked via mono-filament line.
  • Maison Objet

    An extract from a jewellery collection presented by Rossana Orlandi at Maison et Objet, Paris, Autumn 2009. Created from various silks and jersey string.
  • Rossana Orlandi/Gallery Fumi Jewellery

    An extract from collections created exclusively for Rossana Orlandi (Milan) and Gallery Fumi (London), Winter 2009. Created from various silks, hollowed and glass spheres and cashmere and alpaca wools.
  • Electro-Social-Camouflage (ESC)

    Electro-Social-Camouflage (ESC), 2008. Conceived almost 40 years ago by Archigram’s co-founder David Greene, 'The Electric Aborigine' encompasses the notion of an individual consciously acting as a vessel for amalgamation of electronic and natural (non-electronic) environments in the seamless creation of a new environment. A product of audio visual piece 'The Worlds Last Hardware Event' (1967), in which we are challenged to imagine a world where man can wander, carrying his architecture in his pocket, (perhaps originally a pre-emption of mobile technology and its affiliation with the user), The Electronic Aborigine serves to integrate or dissolve an individual into any given environment.
  • Pixel Portraits

    An interactive installation that invites the public to become the subject of unique digital Pop Art portraits. Using face recognition software a digital camera is triggered to capture the portrait of the participant when they are positioned within a marked area appearing on a monitor next to the canvas, (similar to the process within a public photo-booth). This portrait is run through self-developed software that generates a large scale Pop Art style portrait constructed from thousands of smaller versions of the original portrait. This Pixel Portrait is then projected on a large framed canvas until the next participant is ready to engage with the project. The canvas was created from self-enhance rear-projection fabric, enabling the projected portrait to be viewed morning or night. The process from portrait capture to Pixel Portrait display takes a matter of seconds. On generation each unique Pixel Portrait was also uploaded live to an FTS for the participant to download at their leisure.

    This self-generating project ran live 24 hours a day for a 10 day period at the beginning of October 2008, in Maria Lusia, Paris, during which time over 1000 unique Pixel Portraits were generated.
  • Fabric Sculpture (Untitled)

    Untitled 08, 2008. Abstract Fabric Sculpture commissioned by The Crafts Council for Somerset House, London. An exploration into the utilization of a variety of stretch fabric combinations.
  • Fabric Sculpture Series 2

    Fabric Sculpture Series 2, (External Tumours). Fundamentally tumours are caused by an accumulation of mutations within the DNA of cells that lead to their uncontrolled division, and subsequently the abnormal growth of tissue. Series 2 was primarily derived from notions from such cell mutations. Items such as defaced coins, C.D.'s containing corrupted data and irreparably scratched vinyls were encompassed within fabric. My resulting desire was such that the sculptures themselves appear as an integral part of the female form, irreparably distorting the physical appearance; As External Tumours their application to the body seamless, as if they were bound, grown and shaped by time.
  • Future Landscapes

    A series of twelve wall based canvases (90cm x 90cm) created utilizing a self-developed technique to permanently form any given fabric into any given shape. Molds for the canvases were created from adapted Ikea products such as a bed, table and a chair cut into sections, with the intention of creating a paradox between the mass produced and the uniquely hand crafted.
  • Glass Rope

    A pair of glass sculptures intended to challenge the juxtaposition between material and function. Inherently glass is a rigid, fragile material, whilst the properties of rope are commonly associated with the direct opposite. In seeking a method of construction that questions this and our perception of material's relationship to it's function, the theory of the innate spiral was formed. By filling a tube of stretch jersey with identical symmetrical objects larger than the non-stretched with of the tube, surplus volume is created with the tube. This surplus volume is expelled at a 45 degree angle from the seem of the tube, thus generating a permanent three dimensional spiral from the objects contained with in the tube. In this case over ten thousand glass marbles were shared between the two structures, uniting individual glass spirals in the construction of glass rope.

  • Untitled (Fabric Sculpture)

    Abstract Fabric Sculpture, commissioned by Dickson Russell Art Management for the atrium of Pricewaterhouse Coopers. Untitled 07 measures 15 meters in length when fully extended, and is constructed from knitted stretch jersey and wooden discs.
  • Chain Reactions

    A collaborative project with Sarah Van Gameren. Conceived as a giant time piece, 100 000 match sticks were aligned like domino's and set ablaze. The installation was design to burn for 12 hours, enabling the time to be take via the kinetic movement of the flame.
  • Kinetics

    An installation consisting of 25 kinetic/lighting sculptures, commissioned by Artwise Curators for temporary show at Maison Blanche, Paris. Constructed from Plexiglass rod and tubes of  fabric mesh, each unit within the installation was strung between a steal base and self-designed motorised mechanism. The bases acted as an anchor as the motorised mechanisms slowly coiled each unit into a spiral/helix structure. On reaching the optimum point tension (when each unit was unable to coil any further), the motorised mechanisms realised the coiled structures, at which point the velocity of the uncoil is such that the illusion of a ‘whirlwind of light’ is created. This cycle is then repeated.
  • Empty album

  • Untitled (Fabric Sculpture)

    Abstract privately commissioned Fabric Sculpture. Knitted stretch jersey, synthetic spheres, wooden rods.
  • Fabric Sculpture Series 1

    Fabric Sculpture Series 1 , (Genetic structures). Our environment, the people we meet, the places we visit, the music we listen to, etc, are what make us who we are.  Series 1 was derived from this notion, examining aspects within my own environment that shape me. Utilizing objects such as coins collected on my travels,  my C.D. and vinyl collection, a compilation of signatures from people in passing, to the literal interpretation of DNA structure, sculptural forms were constructed, encompassing these objects within fabric. The objects themselves become obsolete; subsiding to their affiliation with the fabric and the geometric landscapes they create.

    NB. Although all fabric sculptures are exhibited in an interior/gallery context, I am also drawn to the female form as a means to communicate aspects of scale and movement in these works. The body is fundamentally a three dimensional form or space thus can be treated so in the installation of a sculpture. Whether installed in an interior space or on the female form, it is the creation of an affiliation between sculpture and the space it occupies, that determines the sub-sequential image or documentation of the work.
  • Mercury Set

    Mercury Music Prize set commissioned following winning the Mercury Art Prize in 2005. The project consists of six 4.5 meter lighting sculptures, designed to interlock visually with the stage backing; a large two dimensional mural depicting the winning Mercury Art Prize sculpture. Constructed from silver Lycra and wooden discs of varying diameters, these sculptures were created with the intention to continue the examination of notions formed from Fabric Sculpture Series 1, (most notable the relationship between sculpture and the female form).


  • Fabric Skull

    Privately Commissioned Fabric Sculpture. 55cm x 45cm x 30cm. Formed Knitted Stretch Jersey. Filippo Pecora Collection.
  • Wood Works

    Drawn from the notion of ‘perfection’, seeming faultless spherical wooden sculptures constructed from tooth picks and barbeque skews, were designed with a tumor or growth within the base mold resulting in a geometrically erroneous finish.