This essay explores the possibilities and limitations of challenging anthropocentric perspectives through contemporary painting, examining representation, material agency, and artistic control alongside critical reflection on my own non-human-engaged artistic practice.
A reflection exploring how failure and shame become working methods in my practice-led research on water through making and writing.
This essay critically explores the concept of “art as a living entity” and examines the dynamic and reciprocal relationships between the artist, the process of making, the artwork and the viewer.
This essay examines how fire, dust and water mediate human perceptions of time, memory and embodiment, exploring their symbolic and material significance in art and how digital technologies transform sensory experience through simulation, interaction and computational control.
A description of a haptic encounter with an object in a way which critically and imaginatively examines touch as an embodied and material process. Drawing on a material language from writers such as Derrida and Merleau-Ponty, touch is vividly defined as a fundamental hinge between us, the subject, and the objective world.
An exploration of expanded painting. This essay examines how material agency, embodied perception, and chance operations transform painting into an ecological practice.
A reflection on thresholds through an intertwined practice of drawing and embroidery, exploring the relationship between line, body, intimacy and existence.
This essay proposes the idea of recycling creative consciousness, combined with the creation of personal environmental art works for analysis.