My work considers 20th century architecture and interiors, and has referenced post-colonial, post-industrial and modernist sites. I am interested in the permanent nature of architecture and its ability to both withstand and embody; changing governance, social histories and personal narratives. I admire architectures utopian capacity to constantly look forwards; reimagining a better future through form, design and pattern.

By exploring formal, structural and decorative aspects of architecture and interiors, I process selected elements through drawing, sculpture, printmaking and animation. Adjusting perspective and scale, I playfully re-position the permanent nature of these structures.

The process of drawing is crucial to my work, acting as the unanimous starting point and also taking full, or partial role in the final work.  Using every day drawing materials, such as pencil, pen, watercolour and paint; I employ colour sensitively and view drawing process as a tool for emotive, communicative effect.  Drawings often take the form of a social object such as a map or postcard, and larger sculptural work frequently employs a hand drawn or printed element such as pattern.

For the past four years, my practice has predominantly explored modernist architecture and interiors, pulling from its utopian formalism and idealism, sometimes creating pseudo furnishings that sit in between art and functional object.  I am interested in the cross over boundaries between the disciplines of making in craft, design and fine art, and the audience's interpretation of an artist creating a 'useful' object such as a chair.

From 2014-2016, I researched into 1930s seaside moderne architecture in the North West of England and Scotland that was constructed in the mid war leisure boom. 'Looking Back|Moving Forwards', in a project funded by Grants for the Arts (ACE), Blackpool Council and UcLan (lookingbackmovingforward.wordpress.com).   The project involved researching iconic buildings such as Blackpool Pleasure Beach, The Midland Hotel, New Brighton Palace, and lesser known structures such as the abandoned lido at Grange over Sands, Cumbria.  Alongside this, I investigated corresponding architectural materials in the RIBA archive, as well as examples of modernist interior design such as Marion Dorn, Lucienne Day and Gunta Stolzl at the V&A and Whitworth archives.  From this extensive research, I developed a new body of drawing, printmaking and sculptural work, which was exhibited in a solo exhibition at The Grundy Art Gallery in July-August 2016, with an accompanying symposium on Seaside Moderne. 

I am artist in residence within the Printmaking Department at the University of Central Lancashire (2016-2017). From March- May 2017, I am undertaking a residency, This House for Building, at The Tetley, Leeds, within which I am researching into the architectural history of the building during its construction in 1931, as well as the wider period of art and design during its construction. I am particular I am exploring modernist printed textiles and wallpaper and how this relates to current manufacturing in North England, through a series of factory visits.

I have exhibited widely in the UK and in China, Japan, Europe, Australia and USA. Recent projects included a solo exhibition 'Looking Back|Moving Forward' at In Certain Places, Preston in spring 2016 and a commission for 'Finding Treblinka', a touring exhibition in Poland and the UK in 2015/16, with venues including the Museum of Polish Jews, Warsaw and The Wiener Library, London.  Past residencies include Manchester School of Art (2012), In Certain Places, Preston (2012) and 501 Artspace, Chongqing, China (2011). 

In 2012, I was shortlisted for the Jerwood Drawing Prize.  I am a graduate of Goldsmiths MFA (2007) and Duncan of Jordanstone BA Fine Art (2002).