The language and methods of science are reinterpreted in my art practice, which adopts a research approach to creating and questioning meaning. Fieldwork, physical experiments, and archival records are used in a quasi-scientific manner. This not only reflects my background working as a researcher, but is also intended as a means of challenging the role of science in supporting dominant economic and social systems.

Often site-specific, my work explores landscapes which bear the scars of industry and reveal the ‘myth of progress’. Here spaces that are temporary, obsolete, abandoned, derelict, liminal and infrastructural are exposed as sites of conflict over values and power. These contested landscapes can be read as a warning of impending global crisis, of progress which benefits only the few, and of blind-faith in technological solutions.  My interest in these kind of places first developed during my scientific research of sustainability and land-use.

In response to these places and ideas, I use materials in symbolic and experimental ways. For instance, collecting and assembling found materials into mixed-media works and bricolage, or using destructive and transformative processes such as oxidisation, bleaching, dyeing, melting and distortion.  These physical experiments result in textures and forms similar to those found in the places I explore, but also represent a form of alchemy: mystical, philosophical and protoscientific.