Walk all over me, November 2025
Black vinyl on concrete (public corridor), 185 x 175cm (10x15cm per letter)
While exhibiting this work during the Conversation Starters exhibition, viewers followed a fixed path of exhibited works, including that of a corridor leading to the AV room. As the viewer turned to enter the corridor, they were interrupted by bold, capitalised text placed at the entrance, reading “YOU’RE STILL GOING ON ABOUT IT? I’D HAVE MOVED ON BY NOW, YOU SHOULD BE GRATEFUL FOR WHAT YOU GOT.”
Interrupting the ordinary experience of viewing artworks on a wall, or at least within a set boundary, the viewer is forced to contemplate walking over, or moving in and around the letters. Interestingly, they may decide not to walk past it at all. The act of standing stationary, taking a moment to read what is written, and coincidentally how to respond is exactly the aim of this piece. To read these words, is to understand that they are harsh, rude, unexpected, and ultimately relatable.
“Will be the death of you”, April 2025
A2 canvas, texture paste, white acrylic paint
This larger, stand alone canvas displays another statement with an emphasis on the viewer filling in the blanks. Bringing my texture paintings full circle, it specifically states death regarding the concept that our emotions will be the death of us. It is often stated, during times of vulnerability, and this is something I wanted to portray with the involvement of the audience.
“Everyone has a sob story”, February 2025
4x 16x20in canvas, texture paste, red acrylic paint
Placement assisted by professional curators.
From left to right:
“SORT YOURSELF OUT”
“YOU’RE BEING DRAMATIC”
“PULL YOURSELF TOGETHER”
“YOU NEED TO MOVE ON”
This series explores how colour can influence our perception of a piece of work. The bold, saturated red canvases are hung at alternating heights, with none hung at the typical eye level, being the first piece of work that captures the viewer’s attention. All four phrases on these canvases address the viewer (you, yourself), urging the audience to engage with the vulnerability of words, despite the sarcastic tone that is put forward when these phrases are read aloud.
To love is to lose, October 2024
Video projection recorded using Canon 3000D, edited on Wondershare Filmore, optoma projector, A2 canvas, texture paste, white acrylic paint
This piece exaggerates a response to the phrase “TO LOVE IS TO LOSE”. As the phrase is repeatedly written/ruined the viewer is brought into the work and reminded of loss. There is a sudden transition to a stark white, which highlights the canvas beneath. It reads“GET OVER IT” in a bold, eye-catching font, despite the deception of the canvas being ‘blank’.
To love is to lose (full poem), April 2024
Optoma projector hung from the ceiling onto large acrylic tray. Recorded on Canon 2000D, cut out letters, and blue poster paint and water mixture, audio read aloud by a steady, male voice.
A poem on grief is destroyed and reconstructed by a flood of blue water, read aloud by a steady, male voice.
To love is to lose, January 2024
2 x 40cm canvas, oil paint, black vinyl, projection from Optoma projector, built shelf
Two paintings of daffodils (one alive, one wilted) read a poem from one to the next, beside a projected video. The video slowly reveals the first paintings' daffodils from underneath a layer of masking tape.